Redux Redux 2025 Movie Review Trailer
The McManus brothers are ready to take the plunge with this genre-bending sci-fi film about a grieving mother searching for a reality where her daughter is still alive.
Kevin and Matthew McManus first appeared at SXSW a little over a decade ago with their raunchy children's comedy "Funeral Kings." One of the most charming aspects of that festival debut was the fake posters for the local video store that appeared in the film—dream projects in every sense of the word. Largely without dialogue, they weren't visual gags or filler, but likely full-scale feature films the brothers had been carrying around in their heads.
Directors: Kevin McManus, Matthew McManus
Writers: Kevin McManus, Matthew McManus
Stars: Michaela McManus, Stella Marcus, Jeremy Holm
Their third feature, "Redux Redux," a thrilling sci-fi action film, would have fit perfectly into one of those frames, even though it's nothing like the last film they brought to SXSW. The story follows a grieving mother (Michaela McManus) across the multiverse as she avenges her daughter's death by any means necessary. It's exactly the kind of movie the brothers would have wanted to rent on a Friday night.
With its striking visuals and wacky logic that makes filling in the gaps fun, this high-concept thriller offers a different perspective on the justice-driven story arc. Irene wanders through various dimensions, strongly reminiscent of Linda Hamilton, as she swiftly disposes of Nelson (Jeremy Holm), the man who killed her daughter Anna, on multiple occasions. Presumably, practice has made it easier for her to find him; she'll set him on fire or blow his head off through a hotel bed. The time loop has clearly desensitized her to the violence she's committing, but also to any catharsis. Even so, she persists, not to ensure Nelson is dead, but in the hope that in some of the multiverse's various facets, her daughter is still alive. In each reality, Irene reliably finds a coffin-like metallic artifact she bought on the black market.
At first glance, it might seem that there isn't much at stake in "Redux Redux." But the McManus brothers give their protagonist something to worry about besides her own daughter when, during her travels, she encounters Mia (Stella Marcus), a teenage orphan destined to become another of Nelson's victims in a kingdom before Irene dispatches him with ease. Soon, Irene has to make room for Mia in the flux capacitor when she insists on keeping her kidnapper at bay—an impulse Irene certainly understands, but wouldn't wish on anyone else. However, Irene could use the company, and her rapport with the courageous Mia adds a touch of warmth to a film that is, by definition, brilliant. The heroine begins to soften and reveal what she was like as a mother.
"Redux Redux" clings to a recognizable reality across all versions of the multiverse, which may have been a consequence of a limited budget. But the McManus brothers make the parameters work by drawing an intriguing parallel between Mia's life, moving from one foster home to another, and Irene's, where the next day never comes. Relocating to any new world is just another day for the foster child. Impressive scenes unfold throughout the film, from a thrilling car chase at the beginning to a later fight between Irene and a pair of shady mechanics (Michael Manuel and Taylor Misiak). Cinematographer Alan Gwizdowski's elegant widescreen compositions and Paul Koch's powerful synthesizer score add to a truly intense atmosphere.
At times, the inherently repetitive nature of the story raises issues that aren't addressed with the same inventiveness. Watching Mia plead for help to escape can become tedious, and, ultimately, the climax inevitably involves the same villain who has been killed countless times. However, by delving into the multiverse, the McManus brothers largely manage to get the best of both worlds, delivering a solid entry into the genre with the foundation of a tender indie film about trauma.
Comments
Post a Comment