’Redux Redux’ Review: A Mother’s Revenge Takes on Different Dimensions in Muscular Multiverse Thriller

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Kevin and Matthew McManus initially appeared at SXSW around a decade back with their film “Funeral Kings”, a crude comedy about kids that was one of its debut highlights. A delightful aspect of this premiere was the phony movie posters in the film for the local video store, which seemed like genuine dream projects. These weren’t mere visual jokes or decorative elements but rather, it appeared, entire films that the brothers had mentally conceived. Their third production, “Redux Redux”, a complex sci-fi action movie, could have easily been one of those posters, although it shares no similarities with the previous SXSW film they presented. Instead, the narrative revolves around an upset mother (Michaela McManus) traversing different universes to seek vengeance for her daughter’s death in various ways. This is precisely the kind of movie that the brothers would have enjoyed renting on a Friday night.

Featuring a muscular appearance and an unconventional narrative style that invites viewers to imagine the missing pieces, this high-octane thriller presents an unusual perspective on history ultimately favoring justice. The protagonist, Irene, travels through diverse dimensions, emanating strong vibes reminiscent of Linda Hamilton as she efficiently eliminates Nelson (Jeremy Holm), the man responsible for killing her daughter Anna, repeatedly. It appears that extensive practice has made it easy to locate him; she can either burn him alive or shoot him dead through a hotel mattress. The time loop seems to have numbed her towards the violence she’s inflicting, as well as any sense of release. However, she persists in her pursuit not because she wants to ensure Nelson is truly gone, but because she harbors hope that in one of these multiple universes, her daughter Anna may still be alive. In each dimension, Irene consistently discovers a mysterious metal box-like object procured from the black market.

At first glance, “Redux Redux” may not appear to have high stakes. However, the McManus brothers introduce a new element for their main character to invest in when she encounters Mia (played by Stella Marcus), a teenager who was an orphan and seemed destined to be another victim of Nelson. Irene promptly eliminates Nelson, which leads Mia to seek refuge with Irene. Despite the obvious danger, Mia insists on keeping her captor at bay, a decision that Irene can empathize with but wouldn’t wish upon anyone else. As the story unfolds, Irene finds companionship in Mia and their bond adds warmth to a film that intentionally maintains a cool tone. This relationship helps soften Irene and allows her past as a mother to emerge.

In every version of the multiverse, “Redux Redux” maintains a strong connection to our familiar world, possibly due to budget constraints. However, the McManus brothers cleverly exploit these boundaries by drawing an engaging comparison between Mia’s life, constantly shifting from one group home to another, and Irene’s, who exists in a timeless loop. For a foster child like Mia, adjusting to any new universe is just another ordinary day. The movie opens with an exhilarating car chase scene and later features a fight between Irene and two suspicious mechanics (Michael Manuel and Taylor Misiak). Alan Gwizdowski’s cinematography and Paul Koch’s pulsating synth score contribute significantly to the film’s immersive atmosphere.

At times, the repetitive pattern in the plot creates challenges that aren’t always addressed creatively. It can become tedious watching Mia repeatedly ask for help and escape trouble in the same way. Moreover, it’s predictable that the resolution will involve the recurring villain who has been defeated numerous times. Yet, by exploring the concept of multiple universes, the McManus Brothers mostly succeed in blending two genres effectively. They create a compelling genre piece while maintaining the essence of an intimate indie story about healing from trauma.

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2025-03-19 22:46