By GABRIELLA FOOR
Starring Jaime Winstone, Chiara D’Anna and Brad Moore
Written and directed by Craig Tuohy
Saban Films
A sharp and stunning feature debut from director and writer Craig Tuohy, EVERYONE IS GOING TO DIE upends the home invasion genre and provides surprising depth. Perhaps comparable in some ways to the familiar home invasion films that we’ve grown up on such as The Strangers or Funny Games, this film could have feasted on the same topic but chooses more interesting issues instead. Drawn in by a devilishly simple concept, a father and daughter fall victim to the invasion games of two masked women. While the film itself does use a familiar trope to cut to the bone right off the bat, the fun and games being played (and they are referred to as “games”) come at a much higher cost. This UK indie is elevated: the barebones committed cast, the intimate cinematography in a single-location film and the looming, heavy score from Si Begg that sets the tone with tension or hopelessness. This debut, however, isn’t as hollow as some of its genre predecessors.
Daniel (Brad Moore) is a loosely held together, although successful entrepreneur. Presumed divorced with much younger bedfellows, he is starting off his day by shooing his female company amidst signs of a boozy, drug addled night, and Daniel has some responsibilities he’s dreading. Not only is he “planning” what looks like a dour party for his sixteen-year-old daughter, he has meetings with partners regarding accounts as he pours through young Tinder matches instead. Imogen (Gledisa Arthur) arrives, hackling at Daniel’s presence already. Tensions raise immediately with Daniel’s heavy handed yet neglectful style of parenting, and we discover Imogen has also been scrapping in school, earning her a suspension while also engaging in clandestine, self-injurious behavior.
In the midst of a growing fight, Imogen notices a woman in the garden, leading Daniel to investigate. The woman turns, revealing she’s masked–when suddenly, another masked intruder appears inside the house. Claiming they’re just party crashers, the two use the aliases Comedy (Jaime Winstone) and Tragedy (Chiara D’Anna), Comedy wielding a shotgun and Tragedy playing with a menacing pair of scissors. Comedy and Tragedy establish dominance in the house and begin a trial of disgusting games. As the violence of playtime persists, it dawns that victims and perpetrators aren’t all obvious, and that saving Imogen in more than one way will be no easy feat.
Tuohy’s aim with EVERYONE IS GOING TO DIE becomes gruesomely apparent, heartbreaking and in a way, freeing. We are asked, as an audience, not to look away–which is exactly all one wants to do during these games. Refusing to go unseen, this feature is brutal and effective, demonstrating female rage on a sliding scale and acts of violence or depravity that leave a lasting impact long after the credits roll. Revealing most any of Tragedy or Comedy’s incentives and intentions would derail the shocking conclusion, demonstrating a delicate balancing act orchestrated by Tuohy as the film climbs towards its precipice with secrets to spare. On that note, it’s necessary to include a trigger warning that there are scenes and subject matter in the concluding act that could be potentially disturbing to some viewers. Though the scene and situation are handled as gently as they can be, it’s easy to be repulsed while also respecting Tuohy’s approach to a stomach-churning setup. He does so with empathy and tact, driving home the emotional terror over the alternative of sensationalism.
EVERYONE IS GOING TO DIE is perhaps a misleading title. Though some scenes are horrific, if you’re going in looking for a gore-soaked home invasion frenzy, this is not the right place. Paced and daring, what the film lacks in implied violence it makes up for in emotional terrorism fueled by powerful performances. Jaime Winstone is a force to be reckoned with, unmasked, unafraid and fully prepared to complete her mission. Mocking and forceful, Winstone injects some of the darkest comedy in the film, humiliating and shocking us with her seemingly whiplash choices. A woman filled with fury, she is willing to do the unthinkable to deliver her message, and strikes the perfect balance with a mostly silent yet impactful D’Anna. While Moore and Arthur are strong players, the show is rightfully stolen by Tragedy and Comedy, who as a unit, turn the genre thriller upside down. With these strong performances, we can shift away from the home invasion sensation with dialogue and mystery, unraveling knots of trauma and putting individuals to some demented, revealing tasks. A fresh look at the home invasion game played by women’s rules, EVERYONE IS GOING TO DIE is a flickering flame licking at the heels of the patriarchy.
EVERYONE IS GOING TO DIE is currently available on most major streaming platforms.
