By David Dent
A movie that comes on like The Terminator filtered through the wonky sci fi lens of Aaron Moorhead and Justin Benson, Kevin and Matthew McManus’s twisty, turny thriller focuses on Irene (Michaela McManus, the directors’ sister), a woman seeking revenge for the abduction and murder of her daughter Anna (Grace Van Dien). Over and over again.
For Irene, by her own design, inhabits a multiverse where she revisits the events leading to her daughter’s demise in the hope of finding one where her offspring remains alive. At the point where we meet her, standing triumphant while the killer – Neville (Jeremy Holm) – lies, strapped to a chair, burning to death in front of her, she’s become adept at tracking him down, Groundhog Day style.
But she’s no closer to rescuing Anna. Along the way she meets widower Jonathan (Jim Cummings), who she encounters at a grief counselling session and seduces, like she’s clearly done many times before; but despite confessing her dilemma, and developing a strong bond forged over many meetings, he’s unable to help. She also encounters Mia (Stella Marcus), a 15-year-old runaway, who’s also been abducted by Neville, but whom Irene manages to free. The pair join forces in Irene’s relentless quest to prevent events from reaching their usual conclusion.
Admittedly Redux Redux’s premise is quite thin, and you have to be a bold filmmaker to do the whole multiverse thing without the movie becoming tedious. The brothers Mc Manus manage this via a terrific performance from Michaela McManus and a story which is in no hurry to deliver its secrets too early. The literary illusions add a nice touch to proceedings – “you dragged me through the looking glass” is one line – and the film balances action with reflection effectively. It won’t be for everyone, but I really like this slowburn sci-fi drama.
Redux Redux screened as part of SXSW Film Festival 2025.
Bloody Flicks 