‘The Demon Disorder’ Review: Visceral Body Horror in the Vein of Early Cronenberg
Australia is a hotbed of burgeoning horror talent. Joel Anderson (Lake Mungo), Sean Byrne (The Loved Ones), Jennifer Kent (The Babadook), the Philippou Brothers (Talk to Me), and so many more talented filmmakers hail from the land down under. So based on the country’s impressive track record, I was eager to check out Australian filmmaker Steven Boyle’s directorial debut, The Demon Disorder. Though Boyle may not quite reach the heights of the aforementioned filmmakers, his first feature is poignant and chilling, and features exquisite practical effects.
The Demon Disorder follows brothers Jake (Dirk Hunter), Phillip (Charles Cottier), and Graham (Christian Willis). The trio are reeling from past trauma stemming from the death of their father (John Noble). But each sibling has compartmentalized the heartbreaking ordeal, rather than facing their inner turmoil head-on. Try as they might to outrun it, their past catches up with them, forcing each to face their fears and battle a malignant supernatural presence in the process.
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The film works so well for me because the central trio is believable as grief-stricken brothers being eaten alive by their shared experiences. Their interpersonal dynamic conveys years of unspoken resentment. We see that manifest through sideways glances, tone of voice, and other subtle indicators. Each wears their pain on their face, but none of them has the emotional maturity to broach the subject and vocalize those feelings. The further we get into the narrative, the more we realize the brothers’ inaction regarding their emotional well-being is tearing them apart from the inside out, both figuratively and literally.
The dynamic between the core characters serves the film well in more ways than one. Several of the situations the central trio gets wrapped up in are completely unhinged and utterly unrealistic. That aspect may have rendered The Demon Disorder unwatchable with less capable performers in the lead roles. However, each of the key players was convincing enough that I bought in fully and accepted the unlikely narrative developments without question. We often take that piece for granted with big-budget releases. But performances are sometimes hit or miss with lower-budget indie fare. I’m pleased to say that, despite taking a scrappy approach, Boyle has assembled a competent cast capable of selling the fantastical conceit within.
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One might be tempted to accuse the filmmakers of retreading familiar ground. To be fair, they do. We’ve seen grief and trauma juxtaposed alongside a monster metaphor time and again since Hereditary popularized those themes. But the poignant emotional core on display in The Demon Disorder kept me engaged for the duration.
One additional element that helped keep my attention is the placement of several well-timed jump scares. I am an unabashed fan of jump scares and I’m pleased to report that most of them are on point here. As an effective jump scare should, they present unexpectedly and coincide with harsh musical stings likely to keep the viewer ill at ease. There are a couple that I saw coming in advance. But I still reacted, despite the predictability factor.
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Jump scares aside, I was also really taken with the practical effects work. There are moments of stomach-turning body horror that are utterly repulsive. The effects are gorgeously rendered and call back to the heyday of practical creature design. The FX work here is next-level. It’s grotesque in every way and often uncomfortable to lay eyes on. But it’s so masterfully rendered that I couldn’t bear to miss a second of the action in all its gory glory.
I suspect Boyle’s background as an effects artist was a tremendous benefit to the production. Though he isn’t credited with any effects work here, it’s likely he knew exactly how to assemble a dream team. And it paid off in spades. The body horror designs within are reminiscent of the early days of David Cronenberg.
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Equally noteworthy is the set design. The farmhouse where much of the film’s first half takes place is painstakingly rendered. There’s grit and grime on the surfaces that looks like it has accumulated over the course of decades. Additionally, the walls are painted a sickly shade that is anything but disarming. The set lighting brings those walls to life with an unnerving glow that reminds me of a low-rent skilled care facility, circa 1987. That made existing in the dwelling supremely uncomfortable.
All in all, The Demon Disorder marks a promising debut from director Steven Boyle. The performances, creature design, and effectively placed jump scares make for an enjoyable viewing experience. I am left curious to see what Boyle does next. If you’re eager to check the film out, you can scope it on Shudder beginning September 6, 2024.
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‘The Demon Disorder’
Summary
Steven Boyle’s directorial debut features masterfully grotesque effects and a strong emotional core.
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