‘Pearl’ (2022) Review
With Pearl, director and writer Ti West managed to create a duology of horror films loved by critics and audiences. However, does this second film in a soon-to-be trilogy stand on its own? Or do the expectations of being a prequel derail it? Does Pearl prove a worthy successor to X?
As someone who is a fan of Ti West, I can answer that simply; Horror fans feast this year. Pearl is a movie that will stick with you long after the upsetting credits sequence.
Pearl (2022)
Director and writer Ti West (House of the Devil) strikes horror gold twice in one year in his X follow-up, Pearl. Pearl is a gothic slasher film that serves as a prequel to X. The movie explores the life of a younger Pearl, X‘s murderous biddy, against the 1918 outbreak of Spanish Influenza and the first World War. Pearl struggles with her desire to leave the family farm and be a star. She is under the thumb of her domineering german mother, infirm father, and has a husband who is off fighting in Europe. However, Pearl’s life may take a turn through a meeting with a film projectionist and news of an audition for dancers.
The film stars Mia Goth (Suspiria), who co-wrote the film’s concept with Ti West during the production of X as the coronavirus outbreaks was in full swing, as she reprises the role of Pearl from X with significantly less make-up. The film also stars David Corenswet, Tandi Wright, Matthew Sunderland, Emma Jenkins-Purro, and Allistair Sewell.
What worked with Pearl?
There is a lot to love about Pearl, and in many ways, the prequel is more surprisingly ambitious than X. Pearl, at its best, functions as a companion to X, not necessarily as a prequel that establishes story elements, but rather in themes. That is not to say the film is overly beholden to what came before it, either. The film cleverly evokes the pandemic-era anxiety with the historical Spanish Flu and weaves a pandemic into the story that feels modern but does not overwhelm the rest of the film. The film rhymes with its predecessor in several ways, such as attitudes toward sexuality and pornography, ambition and violent escapism, and even down instances of dialogue. Like Ti West’s earlier collaboration with Mia Goth this year, the film has that x-factor.
“The X-Factor”
Speaking of Mia Goth. Goth is delightful in X as an elderly Pearl and Maxine Minx. However, the way she is unleashed as the young Pearl in this movie is one of the most impressive performances I have seen in a film this year and maybe in the past few years. She is frightening, ambitious, beautiful, terrifying, tragic, charming throughout, and utterly carrying the film. That is not to say that the other performers do not pull their weight, but compared to the role of Pearl, there isn’t as much to do, and they’re better off standing out of the crossfire as Mia Goth decimates the audience. A five to six-minute monologue in the film’s climax featuring Pearl laying bare her sickness and sadness floored my wife and me.
Pearl is also a visually stunning film, down to the technicolor-era trappings of title cards and supernaturally bright colors. Ti West knows his way around a camera, and Eliot Rockett’s cinematography provides a beautiful combination of old-Hollywood visual language with some of Ti West’s usual bag of tricks and some of his go-to editing techniques. Zooms, in particular, carry a terrifying power in this film.
The sumptuousness of the color also works well with the film’s period details, such as costuming and the music by Tyler Bates and Tim Williams. Horror films can sometimes appear overly dark or dingy, but Pearl avoids this by embracing a look of old Hollywood just as X embraced a grind-house grit.
What didn’t work with Pearl?
As much as I loved Pearl, two things temper my appreciation. I think the film filling the role of a prequel to X does it a slight disservice and results in some minor problems. As a prequel to X, the film must line up Pearl’s story with the Pearl of the 1970s. It can be rough stitching at times. For the most part, the film is a success and rhymes with its technical sequel, but other times the threads and loose and frayed. Namely the role of Howard (Alistair Sewell) in the events that are to come in Pearl’s future.
Also, because there was an alligator in X, there must be one in Pearl. These kinds of checklist moments are acceptable, but something I feel also limited the film a bit compared to X. X succeeded in surprising me in some ways that Pearl simply could not because it is a prequel.
Secondly, my other criticism of the film is that Mia Goth’s Pearl so thoroughly devours it that it misses opportunities to explore the surrounding characters. In many ways, the movie sacrifices the extended cast on the altar of Pearl at the expense of a richer characterization. My complaints most derive from two characters: The Projectionist (David Corenswet) and Ruth (Tandi Wright), in that we get some tantalizing glimpses into deeper, richer characters. Frustratingly, these developments are cut short, so the characters suffer for it. Particularly the stern Ruth, whose story seems to run as deep and intertwined with Pearl’s, we do not get to explore. It is less so for The Projectionist, but his scenes reveal an interesting thematic connection to X. I would have loved to see that expanded.
Final Verdict on Pearl (2022)
2022 is an excellent year for horror fans as Ti West has delivered two of the most substantial horror projects of the year in X and Pearl. Ti West’s latest film is wholly subsumed by the charisma and presence of Mia Goth. While some of the necessary but perfunctory prequel elements are admirably handled, the strain of working within the confines of future events can take its toll on the film.
(4 / 5)
Pearl is distributed by A24 and produced by Mad Solar Productions, Little Lamb, and Bron Studios. The film’s runtime is 102 minutes and can currently be seen in movie theaters.
We would love to hear your thoughts on the movie in the comments if you’ve seen Pearl. Enjoy the review? Check out our other horror reviews here on Haunted MTL.
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Movies n TV
You’ll Have a Bloody Good Time with this Eternal (2004) Health Tip
When Raymond Pope’s wife disappears, he follows the trail. But each lead points him to the Eternal beauty of Elizabeth Kane.
Eternal (2004) is a horror thriller written and directed by Wilhelm Liebenberg and Federico Sanchez. This R-rated film stars Caroline Néron, Victoria Sanchez, Conrad Pla, and Ilona Elkin. As of this review, it is available for Amazon Prime members with renting options from Spectrum on Demand.
When Raymond Pope’s (Conrad Pla) wife disappears, he’s swept into the mystery of Elizabeth Kane (Caroline Néron). As his investigation becomes increasingly bizarre, bodies pile up and point to Raymond Pope. Will he clear his name, or will this bloody rampage drown him?
What I Like about Eternal
While all of the performances add to the film, Eternal thrives on the charisma and mystique of Caroline Néron’s Elizabeth. She enchants her targets, lowering their defenses until that final moment.
Conrad Pla’s Raymond Pope also requires a delicate approach to succeed. The sleazy and hypocritical detective seems genuinely concerned for his wife (at least initially) and sells that concern. While far from an easy character to root for, the audience understands him and the danger he faces.
There’s a heavy erotic thriller angle that Eternal delivers on. I’ll linger on this point in later sections, but it certainly knows how to build tension within a single scene or between characters. These moments don’t feel forced, and while they often target a male audience, interesting dynamics rise above general exploitative content, if only slightly.
This seems to be a passion project between the creators, Wilhelm Liebenberg and Federico Sanchez. This passion lingers in the moments to deliver something unique, if not without its flaws. The film doesn’t hold back, a point that fluctuates between negative and positive depending on the situation. Regardless, it holds a charm in that commitment that’s hard to replicate without passion behind the scenes.
Tired Tropes and Triggers
The film labels itself as “Inspired by True Events,” which only relates to the general discussion of Elizabeth Báthory. It’s also worth mentioning that, much like Vlad Dracula, her story remains heavily dominated by modern interpretations. I won’t pretend to hold exclusive knowledge of these historical figures, but cultural interpretation reduces realism. The claim means little to nothing.
The predatory queer trope applies to Eternal, with little complexity to challenge the point as the violence often targets women. It’s important to note that Elizabeth acts as a femme fatale in general, but the targets remain clear. However, this film did earn a moment of recognition from the Glitter Awards (a clip was used in 2006), which might suggest the standout performance of Caroline Néron’s Elizabeth earns back some goodwill.
What I Dislike about Eternal
The erotic thriller holds a stigma that Eternal doesn’t challenge. Elizabeth remains a clear femme fatale with a slightly supernatural twist. While the performance executes this character perfectly, viewers likely know if this remains an interest or a tired cliche for themselves.
While most of Raymond’s acts make sense for the character, I hold issue with the end. Without going into too many details, he is asked to do one thing to protect himself and does the opposite for no reason. Perhaps this indicates supernatural influence, but such a claim lingers in headcanon.
The film ends ambiguously, which hardly seems fitting given the evidence and weakens the overall film. A definitive ending, or something moderately more definitive, would strengthen Eternal.
Final Thoughts
Eternal’s major obstacle in executing its erotic thriller is that of tired tropes in the modern era. If one looks past these dated points, there’s a haunting thriller that can meet moments of excellence. The plot falls short in many areas towards the end of the film. Ultimately, if a vampire-esque thriller interests you, Eternal certainly adds its perception to the niche but in a familiar form.
(3.5 / 5)
Movies n TV
When “The Demon of Cults” Delivers Your Brand of Evil
The assessors investigate “The Demon of Cults,” the seventh episode of Evil, created by Michelle King and Robert King.
“The Demon of Cults” is the seventh episode of Evil, 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 cult. David (Mike Colter) struggles to keep his commitment to the Entity as they test his morality. Kristen (Katja Herbers) learns some unsettling plans for her family. Ben (Aasif Mandvi) spends an evening with a friend and meets a divine figure. Dr. Boggs (Kurt Fuller) begins a spiritual journey to write a novel.
What I Like About “The Demon of Cults”
As the brief description above should indicate, Ben endures a lot in this episode. From comedic scenes to genuinely intense moments, Aasif Mandvi delivers a performance that adapts to the plot. His chemistry with a new character (Gia Crovatin’s Renee) also deserves praise as it drives his subplot in the episode.
Brian d’Arcy James’ Victor LeConte returns, bringing this eerie character to life again. While his motives become more comprehensible, his methods continue to create division. As his motives unfold and methods become darker, it upsets many characters.
The last performance to focus on is Gia Crovatin’s Renee. She plays a foil to Ben, showing an intelligent character who blends her spiritual beliefs with her scientific knowledge. This character supposedly appears in “The Demon of Sex,” making a direct claim of this in the episode, but didn’t physically appear in “The Demon of Sex.” Renee makes a lasting impression through her charisma and chemistry with Ben.
This episode returns to a few points of the RSM Fertility plotline. While it doesn’t satisfy lingering questions, it does enough to show Evil hasn’t dropped the plotline entirely. The implications hit Kristen particularly hard as it directly relates to her family.
While the last few episodes hold a haunting beginning or end, “The Demon of Cults” excels in the middle of its narrative. Not every moment earns the level of haunting its viewers, but those moments stand out.
Tired Tropes and Triggers
A running motif of the episode follows the processes of cult indoctrination and deprogramming. “The Demon of Cults” doesn’t dive deep into this material but remains a key element to many plotlines. It also briefly mentions Qanon, broadening the cultish focus to one beyond spirituality.
“The Demon of Cults” remains a bloodier episode of Evil, bringing out a truly exceptional scene to those squeamish at the sight. It’s not particularly gory, focusing more on the liquid spectacle, but a point worth referencing.
While not shown, an animal sacrifice supposedly occurs. The viewer doesn’t see the exact moment of this act but does see the leading moment and results. A character confirms the sacrifice shortly after, leaving little ambiguity.
What I Dislike About “The Demon of Cults”
“The Demon of Cults” doesn’t unpack Ben’s suffering in this episode. From addressing some of his childhood trauma to navigating the unclear motives of the cult, Ben doesn’t get the opportunity to dive into these plot points with much depth. Some of these elements will earn later focus but little follow-through.
It’s never directly shown how the Entity comes to know the events they know. Some points are observation and spying, but others require a level of intuition that needs some explanation. Future revelations might add a potential theory, but these points remain headcanon without confirmation.
Final Thoughts
“The Demon of Cults” explores the evils of indoctrination and the trial of deprogramming. While some elements are underdeveloped or lightly touched on, the episode still possesses some moments that haunt the viewer. While it’s far from the most haunting episode, it does provide lingering points for the show to follow and an exceptional ending to tie everything together.
(3 / 5)
Movies n TV
A Taste of Cosmic and Occult Horror, or Messiah of Evil
Arletty searches for her estranged father in a remote town, witnessing illogical events that only grow stranger in Messiah of Evil.
Messiah of Evil (1974) is a Lovecraftian horror film written and directed by Willard Huyck and Gloria Katz. This R-rated horror film stars Michael Greer, Marianna Hill, Joy Bang, and Anitra Ford. As of this review, the film is available on Tubi TV, Hoopla, Shudder, AMC+, Screambox and much more.
Arletty (Marianna Hill) searches for her estranged father in a remote town, witnessing illogical events that only grow stranger. After meeting Thom (Michael Greer), a bizarre artist, and his female companions (Joy Bank as Toni and Anitra Ford as Laura), she finds moderately normal help against the growing madness. But as the forces against them grow, madness seems a blissful peace.
What I Like about Messiah of Evil
There’s a Lovecraftian focus on this occult horror, following many aspects that distinguish H.P. Lovecraft from the Cosmic Horror genre he inspired. Specifically, the town feels straight out of one of his stories, with locals openly hostile and awkward to outsiders.
There’s a continued eeriness to the scenes that beats with the allure of Lovecraft. At times, this doesn’t inherently yield logical sense, but the growing strangeness fits the film’s reality.
![Messiah Of Evil (Standard Special Edition) [Blu-ray]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TmpGRFNXTXpjblZ1ZWt3dVgxTk1NVFV3TUY4dVgxTk1NVFl3WHk1cWNHYz18MTc0MDM1MjE0OQ=)
- A woman arrives in a sleepy seaside town after receiving unsettling letters from her father, only to discover the town is under the influence of a strange cult that weeps tears of blood and hunger for human flesh
- From Willard Huyck and Gloria Katz, the writers of American Grafitti, Indiana Jones and the Temple of Doom and Howard the Duck, this dreamy and atmospheric film transposes the post-Night of the Living Dead zombie movie to a surreal small-town American setting, presented through gorgeous Techniscope visuals that echo the stylish European horror of Mario Bava and Hammer
- A true cult film, Messiah of Evil, which was also released as Dead People, has overcome distribution challenges to enjoy growing awareness and high acclaim after decades of word-of-mouth enthusiasm among horror cinema fans and critics around the world
- Hailed in 2003 by The British Film Institute as “a rare work of cinematic genius,” this occult tale comes from writer/director Willard Huyck, known for his work on such popular movies as American Graffiti, Indiana Jones and the Temple of Doom, and of course, Howard the Duck
- Starring a bevy of 1970s eye candy, including Anitra Ford, Joy Bang, and Marianna Hill, Messiah of Evil is about a young woman (Hill) whose search for her missing father brings her to a strange seaside town under the influence of a mysterious cult
- A woman arrives in a sleepy seaside town after receiving unsettling letters from her father, only to discover the town is under the influence of a strange cult that weeps tears of blood and hunger for human flesh
- From Willard Huyck and Gloria Katz, the writers of American Grafitti, Indiana Jones and the Temple of Doom and Howard the Duck, this dreamy and atmospheric film transposes the post-Night of the Living Dead zombie movie to a surreal small-town American setting, presented through gorgeous Techniscope visuals that echo the stylish European horror of Mario Bava and Hammer
- A true cult film, Messiah of Evil, which was also released as Dead People, has overcome distribution challenges to enjoy growing awareness and high acclaim after decades of word-of-mouth enthusiasm among horror cinema fans and critics around the world
Last update on 2025-02-19 / Affiliate links / Images from Amazon Product Advertising API
I am a fan of the ghoulish, and there are plenty of ghoulish figures in Messiah of Evil. First, they linger in the shadows but are ever-present in the plot. As Messiah of Evil builds to its conclusion, these ghoulish forces surround the protagonists. They seem haunted and changed by the cosmic truths of the film.
It’s in this unsettling and creepy atmosphere that Messiah of Evil shines among other Lovecraftian works. Lovecraftian horror films often struggle to communicate this atmosphere, rarely diving into the madness that Messiah of Evil excels in.
Tired Tropes and Triggers
Gore seems the most obvious point to mention, along with body horror to some degree. While Messiah of Evil doesn’t linger in its gore, some moments challenge the squeamish. Some of these moments loosely qualify as body horror, but not nearly enough for fans of the genre.
One can make the case that some female characters are depicted as shallow. However, many characters follow a specific and familiar quirk for Lovecraftian films. The female characters earn an equivalent amount of development to their male counterparts, if shallow at times.
There is an awkward romance between Arletty and Thom. It’s reminiscent of the poorly executed lead romances that seem part of a studio checklist. However, the strange events and eeriness of the characters help make this decision more digestible.
What I Dislike about Messiah of Evil
These issues are more careful considerations for viewers to decide on. There’s a stilted awkwardness that remains a common acting choice for Lovecraftian films. This helps create an eerie atmosphere, but it’s a required taste.
The mystery does invite interest, but Messiah of Evil doesn’t build these mysteries with a desire to satisfy its viewers. Some mysteries get answers as soon as they are raised, and others end abruptly when the film refocuses its attention. There is one exception to this pattern, leading to the heart of the Lovecraftian horror. That mystery should take priority, but it doesn’t.
With a 1974 release date, Messiah of Evil remains a dated film in many ways. There’s something about the color pallet and cinematography that seems timeless, but it remains an older film. Don’t expect a modern design or expensive special effects.
Final Thoughts
Messiah of Evil brings to life the Lovecraftian horror so overlooked in films. While it’s far from perfect, the film shows the unraveling power Lovecraftian horror possesses. The greatest challenge in adapting Lovecraftian works is communicating the overwhelming unknowability of the cosmos. There are many moments where the viewer feels that unknowable madness. Messiah of Evil earns a place for fans of the Lovecraftian genre. (4 / 5)
