Running Time: 108 Minutes
Starring: Michaela McManus, Stella Marcus, Jeremy Holm, Jim Cummings, Taylor Misiak, Dendrie Taylor
Following their slice of maritime horror, 2020's The Block Island Sound, co-writers/directors Matthew and Kevin McManus open their feature by plunging viewers into darkness. Shrouded within the shadows is Irene Kelly (Michaela McManus), who grows visible as flickering flames brighten her figure. The source is soon revealed, as a man tied to a chair burns to death, with the immolation highlighting the determination on Irene's face. It is an opening that sears itself into your mind, making a terrific impression for Redux Redux.
As the feature cuts to different locations, including within a diner, or on the floor of a bedroom, viewers witness the determined protagonist murdering the same man in different ways. The reason for such brutality becomes clear, as Irene travels across parallel universes to enact bloodthirsty vengeance against Neville (an unsettling Jeremy Holm), the serial killer whose crimes include the abduction and murder of her 14-year-old daughter.
Across her journey, the heartbroken mother has not found a reality where her daughter lives, or answers regarding the location of her body. Instead, the grief-stricken lead has settled into a routine which threatens to erode her humanity. This mission is paused during a trip to Neville's home, when Irene discovers an abducted young girl called Mia (Stella Marcus). Choosing to save her, a bond is formed between the two survivors whose lives were forever impacted by the same murderous loner.
In 2025, the thought of another multiverse film struggles to be tantalizing. Despite some exceptional entries including Everything Everywhere All At Once and the Spider-Verse films, the concept has been tainted by cinematic universes utilizing it for half-hearted attempts at nostalgia. The best examples of parallel universes involve its use in highlighting character truths, something which grounds the fantastic concept. The multiversal shenanigans may be the selling point, but character is vital to the tale, something that the McManus brothers are clearly aware of.
It's an understatement to say the protagonist has been through hell. Her life has been forever changed by an unimaginable tragedy, and it has left her trapped within a dangerous cycle of violent retribution. Irene has devoted herself solely to this mission, something which consumes her to the point that she refuses to allow herself any happiness. In her head, it is all in service of righting an unthinkable wrong, but is her hunt for a monster turning her into that very thing?
This inner turmoil is reflected in Michaela McManus' outstanding performance, capturing the force of nature who readily commits multiversal murder without hesitation, along with the pain that such violence masks with blood. Volumes are spoken through facial expressions, but when the time comes to deliver a monologue, the result is an enthralling moment that encapsulates why Irene is so driven to murder so regularly. Whether or not it is intended, her actions do the speaking while avoiding verbalising the grief which shattered her, yet that also keeps her potential for healing at a distance.
Ultimately, she discovers that redemption may still be attainable upon crossing paths with Mia, a teenage girl whose attitude and pessimism masks her hurt feelings of abandonment. As the grieving mother discovers how alike the pair of them are, she is also worried that Mia may follow in her footsteps down a never-ending path with a considerable toll. As newcomer Stella Marcus puts forth a tremendous performance, a fantastic relationship is depicted between these two lost souls whose shared company leads them to discover what they have been missing.
What is key to this films success is the McManus brothers, whose exceptional handling ensures that this intimate approach to a fantastical idea is never limited by potential restraints. An early chase is an exciting sequence, where the screenplay and direction work together to convey the stakes in such thrilling ways. It is a tale where terror is conveyed with so little, managing to be nasty and tense with maximum efficiency, while Paul Koch's excellent synth score works wonders. Admittedly, one wishes that the resolution felt a bit more daring, yet it does not diminish the emotional impact.
Even in the darkest of times, where the light at the end of the tunnel appears dim, a way out is possible. Recovery is achievable, and, for Irene, rediscovering human connection may be her salvation from this destructive life. As the story closes with a well-crafted mirroring of the opening which brings the story full circle, Redux Redux solidifies that the McManus brothers are exciting independent filmmakers worth watching.
Redux Redux made its Canadian Premiere at Fantasia 2025
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