Bright, Baroque and Bizarre

"Malignant", the latest scare-a-thon from James Wan, is a stylishly garish exercise that evokes 2000's-era thrillers and horror films before descending into complete madness

James Wan is arguably the resident master of popcorn horror. Responsible for not one, but three of the highest grossing horror franchises within the past 17 years ("Insidious", "Saw" and "The Conjuring"), his resume speaks for itself. There isn't a director working today that's been able to combine box office success, critical acclaim and effective scares quite like Wan has. Taking a "small" detour to helm billion dollar hits like "Furious 7" and "Aquaman", Wan has returned with a new terror tale from an original story conceived by himself, Akela Cooper and his wife, Ingrid Bisu. This new supernatural slasher is a bit of a departure from what's become his signature brand of horror, as there are no haunted houses, no evil spirits and, alas, no Patrick Wilson. What "Malignant" does have are a few tricks up its sleeve and sparks of energy behind the camera that occasionally elevate its schlocky material.

The film follows Madison (Annabelle Wallis), a woman living in Seattle and stuck in a difficult marriage. Currently pregnant, Madison leaves work after feeling ill, which leads to a violent argument with her husband Derek (Jake Abel). The two encounter a murderous home invader, leaving a devastated Madison with the ability to see the killer as he claims his next victims. With the help of her sister Sydney (Maddie Hasson) and two detectives (George Young and Michole Briana White), she attempts to reassemble memories of her childhood, believing the killer to be someone from her past. In addition to receiving story credit, Bisu also has a small supporting role as a crime scene tech named Winnie. Cooper receives sole screenwriting credit and Joseph Bishara, who's scored several "Conjuring" and "Insidious" entries, teams with Wan again for the soundtrack.

"Malignant" is an uneven affair, with its polarizing reception making for a perfect metaphor of the film itself. To its credit, it's chock full of the stylistic trappings that have come to be associated with Wan's films. There are an abundance of fluid, sweeping camera movements and perfectly framed shots. The film also delivers one of the most absurdly entertaining third acts in recent memory. However, most of the film spends its time as a melodramatic slog. It barely makes an effort to be scary and instead plays like a blood-soaked soap opera. Many have pointed to the movie being inspired by 70's and 80's giallo films, but it distinctly favors the over-produced horror movies of the early 2000's. Even the killer's villainous garbs and the score feel dated. Insipid dialogue and acting aside, the film feels dreadfully average until it abruptly shifts into its ridiculously over-the-top finale. For some, it'll will be seen as a brilliant, intentional long con to lull audiences into a sense of false of security before yanking the rug from under them. For others, though, the last twenty minutes may not be enough to redeem the rest of the picture. It's a B-movie with C-level scares and D-level drama, but closes with a gleefully gory burst of energy. Too cheesy to recommend as necessary theater viewing, it's certainly worth a spin on HBO Max for those already subscribed to the service. C+