Alexandre Aja's standing has evolved since the release of his polarizing 2004 film "High Tension." Over the years, many enthusiasts of the genre have come to appreciate his remarkable talent for crafting compelling set pieces and utilizing confined spaces effectively. If "Crawl" did not resonate with you, it is difficult to offer further insight. This week, Aja presents another film set in a singular location, yet it conveys a markedly different atmosphere, serving as a parable—or perhaps several—about the lengths a mother will go to safeguard her children. This theme, along with others, permeates the narrative. Aja's directorial prowess remains exceptional, collaborating with a skilled technical team to enhance what is otherwise a rather convoluted screenplay. Just as one begins to grasp the thematic essence of "Never Let Go," it eludes comprehension. The film presents a chaotic mix of mental health issues, trauma, excessive protectiveness, the nature of evil, and what appears to be allegories related to COVID-19, ultimately faltering due to its conflicting concepts. It offers too little substance to grasp firmly.
"Never Let Go" primarily takes place in a secluded residence inhabited by three individuals: an unnamed mother (Halle Berry) and her two sons, Nolan (Percy Daggs IV) and Samuel (Anthony B. Jenkins). The initial act of "Never Let Go" evokes a sense of familiarity with "A Quiet Place," as it depicts a family grappling with external malevolence while seeking refuge. A central rule dictates that they must remain tethered to a rope linked to their cabin whenever they venture out to gather food or enjoy the outdoors. The mother warns her sons of a lurking evil that will infect them if they stray from the rope—whether this rope symbolizes masks or vaccines for a family in isolation during a pandemic is left to interpretation. Only she perceives this evil, which manifests as deceased relatives, including her abusive mother and dreadful husband. Should it gain access, this "evil" threatens to infect her or the boys, confining the trio within a home facing dwindling resources.
Nolan begins to question the reality of the terrifying visions that only his mother can perceive, a testament to the exceptional work of the makeup team. As the film reaches its climax, the audience is drawn into this uncertainty as well. Could it be that the mother’s experiences are mere hallucinations stemming from years of trauma? Is the narrative merely a horror metaphor for mental illness? As the trio grapples with starvation, tension escalates between the brothers. Nolan's skepticism grows, while Samuel remains loyal to their mother. This culminates in a confrontation regarding the true nature of the threats lurking in the woods, raising the critical question of whether Nolan and Samuel should fear the external dangers or their mother more.
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"Never Let Go" presents numerous intriguing concepts, yet many remain underexplored. At the film's premiere at Fantastic Fest, Berry expressed her hope that audiences would reflect on the film long after viewing. However, this may be misguided, as delving too deeply into the film's themes often results in confusion.
The most significant issue lies in the missed opportunity to thoroughly examine the central theme of KC Coughlin and Ryan Grassby’s script: the notion that the mother may have lost her sanity years prior. Berry fails to fully develop this concept, portraying her character as a one-dimensional protective figure when a more unsettling interpretation could have been achieved. She references an evil that overtook her in the past, claiming that the world she once knew is now lost, yet the audience has as much reason to doubt her as the boys do. This character should embody trauma and the potential for madness in every aspect of her performance, but Berry opts for overly simplistic choices in portraying such a multifaceted role.
The most commendable aspects of "Never Let Go" stem from Aja's direction and the capable team he assembled to execute his vision. He skillfully utilizes background activity, guiding our attention to ominous elements lurking in the woods or visible through a window before the main characters become aware of them. Collaborating with cinematographer Maxime Alexandre on previous projects such as "Crawl" and "Oxygen," Aja has established a distinctive visual style that is effectively employed in this film as well. The film is visually impressive, with its atmosphere further enhanced by a compelling score from Robin Coudert.
However, despite these praiseworthy components, they cannot compensate for the film's shortcomings. In fact, it falters in multiple areas. Aja's most successful works typically possess a sense of momentum, propelling the audience forward along a rapidly accelerating path. Unfortunately, this film fails to achieve that rhythm, squandering some of its most promising concepts by reiterating its more superficial ones. Aja is likely to bounce back, potentially with the upcoming "Crawl 2." By then, we will have all moved on from this particular film.