Everyone is Going to Die: A Patriarchal Critique Gone Wrong

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Under the attention-grabbing title “Everyone is Going to Die“, you might assume it’s a typical doomsday drama. However, director Craig Tuohy’s first foray into feature films presents more than meets the eye. While grand ideas are commendable, they hold little weight if not effectively brought to life. Regrettably, some of the film’s larger issues stem from its execution.

The movie trailer portrays the film as a chilling fusion of “The Strangers” and Michael Haneke’s “Funny Games,” but it doesn’t deliver the intense fear of “The Strangers” or the disquieting impact of “Funny Games.” Instead, “Everyone is Going to Die” is a home invasion thriller that focuses so heavily on being a critique of patriarchy that it neglects elements like suspense-building, narrative consistency, and a satisfying conclusion.

However, Tuohy manages to shine in certain aspects, such as skillfully working within a clearly limited budget and hinting at the structure of a chilling, thought-provoking film. Yet, not all parts of the story smoothly connect, and there are several gaps in the plot. Furthermore, once the movie’s purpose becomes clear, it awkwardly attempts to convey its message through perplexing scenes that mostly rely on shock value rather than coherent development.

The movie starts by showing a successful property tycoon, Daniel (Brad Moore), tidying up his secluded high-tech residence following an extravagant night of revelry with his current companion, Lydia (Tamsin Dean). Right from the start, it’s evident that Daniel is a despicable character, and the film delves deeply into portraying this. However, as more aspects of his depravity are unveiled, they seem less impactful. He’s selfish, underhanded in business, and an unfit father. However, the most reprehensible actions he has taken are towards the women in his life.

Daniel completes tidying up right before his 16-year-old daughter, Imogen (Gledisa Arthur), arrives for their weekend together to celebrate her birthday. Trying to rebuild their relationship, Daniel makes an effort to connect with Imogen, but it’s evident he lacks understanding of her preferences and feelings. Furthermore, he seems oblivious to the emotional troubles she’s dealing with.

The unpleasant meeting between father and daughter is abruptly disrupted as their house gets broken into by two females wearing gruesome masks and wielding a shotgun. These individuals, identified as Comedy (Jaime Winstone) and Tragedy (Chiara D’Anna), seize Daniel and Imogen but initially hide their motives. Initially, it seems like a simple robbery, but soon becomes clear that these women have deep-seated issues with men, particularly focusing on Daniel.

The entire story unfolds within a secluded, high-end mansion, isolated from nearby residents or authorities – a common setting in modern horror and thriller films. Here, the two enigmatic women subject the repugnant Daniel to public humiliation, revealing his numerous moral flaws in front of his daughter. However, some of their methods are questionable, and the movie’s perspective on them is unclear, often contradicting our intended feelings towards them.

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2025-02-21 18:56