A bloody, brutal, and relentless rollercoaster, Azrael shines as a starring silent vehicle for Samara Weaving.
Synopsis of Azrael
Azrael Synopsis: Following the rapture, two survivors (Samara Weaving, Nathan Stewart-Jarrett) engage in a cat-and-mouse chase across the woods, when they escape their former cult. However, after they become separated, one of the survivors, Azrael (Weaving), must not only deal with the living. But also, the dead as they fight for survival against the forces of darkness.
The Great Departure in Azrael
When it comes to Azrael, director E.L. Katz and company crafts a bloody, brutal, and relentless rollercoaster. One that serves as a departure for screenwriter Simon Barrett, best known for films like 2013’s You’re Next and 2014’s The Guest. The reasoning being is due to the film’s lack of dialogue. Which both works for the film in terms of ambience and atmosphere. But, it also does the opposite effect as there is barely any dialogue. Nevertheless, Katz along with cinematographer Mart Taniel brings Barrett’s script to life with a medieval, dream-like quality.
Bringing To Life A Vision
This is largely due to the woods operating as the film’s setting. Thus, giving a clear, concise look. Which is laden with greenery. But, this is contrasted with the survivors. Partly with their clothing and run-down vehicles. Costume designer Jaanus Vahtra displays the costumes in a worn-out, subdued but colourful display. This winds up working in tandem with production designer Carlos Laszlo.
Who, in turn, creates rustic, medieval-like sets. More or less, something out of the period where knights and princesses ran the world, rather than it resembling anything we’ve seen from other post-apocalyptic movies. This also applies to the special effects. Specifically, the special effects make-up done on the undead. In which, their bodies all over are filled with a burnt texture. As a result, the film gives off a lived-in quality.
Editing & Music
Moreover, this is amplified by the score. Composer Tóti Guðnason supplies the film with an intense stirring sound. Which is a result, only gets more intense as the film goes on. But, helping Guðnason is none other than sound designer Phil Lee. Lee takes every sound in the forest from birds chirping to fire burning and mixes it with man-made things like swords, guns, and crossbows. Furthermore, this occupies the film’s soundscape.
Additionally, editor Ben Baudhein uses everything and complies it into something well-paced. Coming in at about one hour and twenty-five minutes, the pace first starts slow. Allowing the characters to breathe. As well as to get a feel of the isolation of the woods. Yet, around the ten-minute mark, the film sprints into gear and never lets go. Though, this does lead into the action sequences. While choreographed well, the editing disrupts it by cutting every five to six frames. Thus, making the entire film feel uneven at times.
Performances in Azrael
As for the performances, Samara Weaving leads the main cast as the titular character. Because of the lack of dialogue, Weaving and the cast have to do twice the work. And in the case of Weaving in particular, not only has she has to balance with the silence with emotion. But, Weaving has to combine it with action. With that, Weaving excels in the role. Additionally, Weaving also has decent chemistry with Nathan Stewart-Jarrett. As for the rest of the cast, they all give solid performances. But, Weaving remains the standout.
Final Thoughts
Overall, despite some uneveness with the action, Azrael is a bloody, brutal, relentless rollercoaster. Largely without dialogue, the film serves as a departure for its screenwriter Barrett. However, despite a lack of exposition, the script manages to somewhat work. Thanks in large part, Katz and his collaborators in cinematographer, production design, costume design, and SFX make-up bringing the script to life. On top of that, Weaving shines as the titular character, doing a lot with very little. All in all, Azrael severs as a silent success.
