The first horror novel I ever read was William Peter Blatty’s “The Exorcist” and the first horror movie I ever watched was “The Omen,” so possession horror holds a special place in my heart. I like the way possession can be a stand-in for different personal, societal or religious ills. And it generally has some of the gnarliest-looking visual elements. Lee Daniels hasn’t worked in this genre before, but nevertheless, I was interested to see his take in the new Netflix film, “The Deliverance.”
Ebony (Andra Day) and her mother Alberta (Glenn Close) move into a rental home in Pittsburgh, Pa., with Ebony’s three children, Andre (Anthony B. Jenkins), Nate (Caleb McLaughlin) and Shante (Demi Singleton). Ebony is struggling with alcoholism, which leads to abusive behavior with her children and regular visits from child welfare officer Cynthia (Mo’Nique). But when Cynthia asks about the strange behavior the children are exhibiting at school, Ebony has no explanation. When Ebony catches Andre sleepwalking, he tells her about his imaginary friend Trey. Eventually, Ebony realizes she needs to turn to the Rev. Bernice James (Aunjanue Ellis-Taylor) to help save her family.
Horror movies can work if some of the characters are unlikable — but there has to be someone with whom you can connect, and this movie just doesn’t have that character. The film is almost two hours long, and the real haunting doesn’t start until nearly an hour in. Still, despite all of the stabs at character development, there is never enough to actually let you feel like you know why they’re in the position that they’re in — or why we should care about this family in any meaningful way. There’s a dinner scene at the front of the movie, and after an hour, nothing else develops beyond what’s revealed in that five-minute scene.
While it’s hard to classify these performances, they are certainly all intense. Day, Close, and Mo’Nique all go for it with their characters, but it’s hard to know if they achieve “it” because the “it” seems hazily defined. The kids are great, but despite being the main targets for the demons, they get very little screen time.
It’s disappointing because this film could have worked as a fascinating exploration of family trauma and the way that addiction can be a demon to be wrestled with. But while that aspect looms large over the movie, it’s never addressed in any kind of thoughtful way. There is some great body horror that happens in the third act, but by the time it finally rolls around, there’s a good chance the audience has already checked out.
Daniels said his goal with the film was not to make the audience jump out of their seat but to scare people into finding their faith. Ebony is forced into that position in this film, but as someone who wasn’t obligated by the script, that was not my experience.
Alise Chaffins is a Morgantown writer who loves movies and sharing her opinions. She reviews a movie from a streaming service every Saturday and one newly in theaters every Sunday. Find more at MacGuffin or Meaning on Substack.
