“The Angel of Warning” is the fifth episode of season 3, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. As of this review, it’s available through Netflix and Paramount+ and its add-ons.

The assessors investigate a miracle. David (Mike Colter) struggles with his visions as the church’s bureaucracy creates doubts. Sister Andrea (Andrea Martin) faces a tribunal to test her competency. Sheryl (Christine Lahti) meets the manager. 

What I Like about “The Angel of Warning”

“The Angel of Warning” continues with Sister Andrea’s trial, showing hypocrisy across multiple levels of the church. From the contradictions of her judges to Sister Andrea herself, this focus adds layers to the human element in the Catholic church.

To tie into this hypocrisy is the procedural case, which follows the assessors confirming a second miracle for sainthood. The church remains only interested in this investigation so long as it confirms their suspicions. When the case seems to veer in other directions, that interest fades. I like how this episode executes its central message throughout most storylines, unraveling the uncomfortable truth and layered hypocrisy within organizations. 

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Evil: Season Three [DVD]

• Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
• Robert King (Director)
• Audience Rating: NR (Not Rated)

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Evil: Season Three [Blu-Ray]

• Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
• Robert King (Director)
• Audience Rating: NR (Not Rated)

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Sheryl digs deeper into Leland’s organization, and the madness begins to show. Her journey adds both comedic and unsettling moments, haunting if we take in her perspective. That perspective remains all the easier to understand through Christine Lahti’s performance.

Sister Andrea shows some growth as she’s forced to confront her judgemental ways after seeing the harm it causes. While there’s room for more growth, it’s still an engaging character journey.

“The Angel of Warning” provides one of the most haunting introductions of the series, showing the trauma and confusion shortly after a tragedy. This opening haunts the viewer, lingering in the mind and setting the episode’s tone. I wouldn’t say the rest of the episode haunts the viewer, but it certainly executes a focused plot.

Tired Tropes and Triggers

As mentioned above, this episode deals with hypocrisy in the Catholic church. While the episode focuses on hypocrisy, I understand this is a particular point for some viewers. 
“The Angel of Warning” focuses on a few microaggressions, forcing David to call them out. Despite the attention, they are mostly pointed out and not given further dissection. However, one character may grow from one of these moments.

The opening scene focuses on a collapsed building and the traumatized people involved. As “The Angel of Warning” refocuses that attention on the investigation, I wouldn’t say it dives into this tragedy with any depth, but it’s worth mentioning.

What I Dislike about “The Angel of Warning”

In the investigation, there’s an interesting plot twist. I loved this added element, but “The Angel of Warning” clearly did not. The next scene after this plot twist reveals the truth. While it didn’t need to expand past this episode, it would have been nice to sit on the tension this lie could have created.

Though not a negative point, it’s interesting that this episode stands out against the others in its titular scheme. We get the reveal of a new demon and potential saint that seems more title-relevant. While “The Angel of Warning” differs in many ways, an angel doesn’t get to the heart of that difference.

While “The Angel of Warning” remains memorable, it doesn’t inherently live up to that haunting introduction. It’s not a particular criticism of the episode as much as a credit to that opening scene, but it’s worth mentioning.

Final Thoughts

“The Angel of Warning” warns of corruption and hypocrisy, individually challenging the cast in new ways. It leads to one of the more troubling moments in the series and keeps the plot going with meaningful growth or regression.
(4 / 5)

We’ve reached the final episode of Dexter, Original Sin. Or, at least the final episode of season one. It was heartfelt, bloody, and surpassed all of my expectations.

Let’s discuss.

The story

We begin our episode with Captain Spencer escaping Dexter’s trap. At least, he thinks he’s escaping. As it turns out, Dexter let him go on purpose to follow him to wherever he’s been hiding Nicky.

Meanwhile, we’re treated to Brian’s history. It turns out that the Morgans didn’t keep Brian because of his violent nature. So the poor little boy found himself in bad foster home after bad foster home until he was finally dumped in a mental hospital.

Through all of this, Brian has only one goal. He wants to be back with his brother. But no one wants that to happen. So when Brian’s killing spree begins, it begins with the doctor who insists that the boys be kept apart.

While Brian goes through his joyful revenge spree, Dexter saves Nicky. But Spencer escapes while Dex is making sure the little boy is safe.

At least, he escapes for a little bit. Not for long.

What worked

The first thing I appreciated about this episode, and this series as a whole, is the depiction of Harry.

I know I’ve mentioned this before, but it bears repeating. Harry is not a good person. He’s not a killer, not directly. But he’s a cheater. He’s a negligent father. And he separated Dexter and Brian after they’d already suffered so much trauma. Worse, he kept the boys from each other when there was no good reason to do so. I love that Harry is such a morally gray character and that we still manage to love him.

Speaking of Brian, he was the best antagonist we could have asked for. He was much more compelling than Captain Spencer. The reason, of course, is clear.

Brian’s reasons for killing are compelling. They are understandable. Unlike Spencer, you feel bad for Brian. While you might not want Brian to win, you kind of understand why he is where he is. And that’s always the best sort of antagonist.

The best thing about this episode was Dexter’s compassion. It was something that we didn’t see as much of in the original series. But Dexter, for all of his blood lust, cared about Nicky. He cared about the people he was saving by taking out Spencer. For maybe the first time, we saw this softer and empathetic side of him. And as a long-time fan, I loved it. It was the perfect touching end to the season.

What didn’t work

Of course, there’s no such thing as a perfect series. And Dexter Original Sin has its problems.

To start with, I don’t feel like the Gio storyline paid off. I know it didn’t come up in this episode, but that’s the problem.

For most of the season, Deb was hanging around with a wealthy, passionate, dangerous man. And when he finally snapped, as we knew he would, all he did was leave her alone on an island. He didn’t threaten her. Didn’t even come face to face with Dexter more than once and never met Harry. It felt like there was an ending to that story that just got cut off. Maybe it was removed for time. But there was just a lot of buildup for not much of a payout.

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And I feel like there could have been some time in this last episode for a more bloody ending for our friend Gio. Instead, what we got were a lot of heartfelt conversations that went on a bit too long.

We see Dexter rub Spencer’s face into his failures. And that was nice. But then we have a heartfelt talk between Dex and Harry. Then another between Dex and Deb. Then another between Deb and her dad’s partner. Then yet another one between Deb, Dex and Harry. Then another one between Dex and Harry. There was just way more talking than we needed in this episode. If they needed to kill some time, other things could have been done.

All that being said, I enjoyed this season of Dexter Original Sin. And I am pleased that it looks like we’re in for another season. And while we’re not sure when that will be, we do have more Dexter to come. Dexter, Resurrection is coming in June.

I can’t wait.

Daddy’s Head brings to life a folk horror to haunt its viewers. Written and directed by Benjamin Barfoot, this TV-MA film stars James Harper-Jones, Rupert Turnbull, Julia Brown, Charles Aitken, and Nathaniel Martello-White. Daddy’s Head is available on Shudder and Shudder add-ons.

After being told his father has died, Isaac (Rupert Turnbull) fears his future, having only his stepmother, who seems uncertain about their relationship. Laura (Julia Brown) struggles with the loss of her husband and new responsibility as the sole potential parent. Their troubles do not end in this tragedy as something stalks them in the dark, made only worse by the familiar face it wears.

What I Like about Daddy’s Head

The creature in this film remains one of the more unsettling designs in recent years, using the uncanny valley to perfection in creating this eerie impression. Daddy’s Head balances building the tension and showing the creature with creative ingenuity to get the best of both worlds.

Daddy’s Head runs at an hour and thirty-plus minutes, with little wasted time. Despite this, the film slowly builds to its conclusion. Perhaps some might take issue with the scenic and lingering scenes, but these moments add to the tension. However, it’s understandable that others might see these moments as wasteful.

Daddy’s Head

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The performances remain strong throughout, with every character tied to the central loss of the plot. I have a soft spot for folk horror for all the reasons that Daddy’s Head excels in. The creature embodies this massive loss, terrorizing them with the face of their lost loved one, bringing pain to life. You feel this pain beyond the terror through the acting.

Daddy’s Head creates an eerie and often haunting atmosphere, communicating a tone that unsettles its viewers regardless of the creature. It’s unfortunate that this film passed by without much attention, though time might act more favorably. While far from perfect, it brings its folk horror to life.

Tired Tropes and Triggers

An animal dies in the film. While the violent attack doesn’t appear on screen, the leading moments and results appear for viewer consideration.

A character struggles with alcoholism, referencing a history of addiction. The stressful events suggest why someone falls off the wagon, but it’s important to note for viewer consideration.

What I Dislike about Daddy’s Head

Forging a family from tragedy remains an empathetic trope to indulge in, but not all cases need this to be the end goal. Julia Brown’s Laura remains an amazing performance as a grieving widow out of her element. However, it’s stated in no uncertain terms that she doesn’t want to be a mother. Focusing only on the plot issue, a character allowing someone more prepared for a parenting role to step in remains a healthier and loving act. Daddy’s Head does an exceptional job adding a character capable of taking up that role but plays it safe in execution.

The creature’s motives remain unclear. It holds plenty of opportunities to harm or kidnap characters but doesn’t. Each time it seems closer to revealing its motives, the film interrupts the scene.

The ending doesn’t hit the right spots for me, shifting focus at the tensest moment. Perhaps if we saw a scene or two more before this focus shift, I’d better believe Laura and Isaac’s new relationship. This seems the best opportunity to connect the audience with their newfound relationship. Instead, we’re taken out of those theoretical moments.

Final Thoughts

Daddy’s Head delivers a folk horror that captures a familial tragedy, embodying grief through a creature eager to exploit it. While it falls short in building some elements of that family, it remains a haunting film. If modern folk horror is your niche, Daddy’s Head remains a worthy contender.
(4 / 5)