REDUX REDUX

Writer/director/producer brothers Kevin and Matthew McManus ('The Block Island Sound') manage to pull of a spectacular feat: balancing a raw, grungy horror/thriller, a cyberpunk-lite sci-fi, a strong female-led action, and an affecting portrait of loss. This melding of genres and themes sounds like utter overkill for a 107-minute run time, but it's a surprisingly simple story with minimal world-building - much to the film's advantage. By only sharing what's absolutely necessary and taking us on an unexpected, madcap adventure, the story rarely feels repetitive (a real accomplishment given the conceit that life is on loop), and we discover scraps of information as events progress.

What's most skillfully done is how little science fiction there is in this science fiction story, and that may be the film's saving grace. Firmly rooted in the reality of the events, we're exposed to Irene's emotions and the agony of having her daughter torn away from her at such a young age. The further in we venture, the more we see she's not just a cold, heartless killer seeking revenge, but a mother left with only one path in her life, one speck of hope that keeps her going. This helps the film from being weighed down with scientific jargon or overcomplicated explanations - parallel universes simply are, and fundamentally no more than a plot device allowing us to experience all-consuming grief.

That's artfully portrayed by Michaela McManus, the filmmakers' sister, who has a strong handle on the key protagonist. She balances that emotion with the strength of her revenge adeptly, letting us step inside her world and experience it for ourselves. Stella Marcus also gives a strong effort in her first major role, though Mia is given less to play with than Ellen, and the troubled teen trope does feel tired as the film progresses.

While a refreshing trip into the sci-fi genre, it's perhaps not a unique horror film. The kills are bloody and pronounced, so fans of gore are well served. However, our serial killer is extraordinarily one-note: we never learn his motivation, his process, his working. He's just bad, with very little else going for him other than that we see him endlessly shot, shucked and strangled.

It's also worth noting that while much of the cinematography is quite organic and observational, there is one particularly chaotic chase scene toward the beginning of the film that utilises handheld camerawork that is immensely nauseating. While this style can be used to great effect, overuse can be disorienting and distracting to the audience, and this was a sticking point for an otherwise gorgeously captured piece.

'Redux Redux' holds great promise for its creative team. Its aesthetic rarely betrays its modest budget, its premise is an interesting take on a well-trodden genre, and the key female actors are a compelling duo. By simply skimming the surface of its sci-fi concept and extracting relatable human moments of broken heart and spirit, this multi-genre film about multiverse revenge has become so much more than the sum of its parts.