Years after the Rapture, the film follows mute Azrael (Samara Weaving) and Kenan (Nathan Stewart-Jarret) as the two are on the run from a religious cult who believe speaking is a sin and have removed their vocal cords. Ambushed by the cultist, Azrael has to fight to survive in the post-apocalypse.
An intense action thriller, the film opens on a vague and minimalist description of the current state of the world, with each subsequent act of the film separated by pseudo-liturgical scripture. We find Azrael and Kenan hiding out in the forest, soon to be captured by the cultist commune. Separated, Azrael is tied down and her leg slashed open to attract a ‘Burned One,’ a charred humanoid creature. Doomed to be sacrificed to what is presumably the byproduct of the apocalypse Azrael struggles, manages to escape and accidentally kills one of the cultist who is dragged away by the Burned One.
Quickly setting the tone of the story, ‘Azrael’ wastes no time in establishing the atmosphere. Overwrought with endless brutality, Weaving’s Azrael endures one attempted kidnapping after the other, as the cultists wish to sacrifice her to appease the ghoulish creatures lurking in the forest.
Evading capture initially, Azrael is set on returning to rescue Kenan. The ensuing cult camp infiltration and subsequent escape cement Weaving as one of the more prominent scream queens of her generation. As the woman fights to survive and manages to withstand multiple pummelings, car crashes and attempts on her life, the actress delivers an engrossing and painful to watch performance as she wheezes and staggers her way from one violent altercation to the next.
Hand in hand with the endless beat-downs, the film also entices mystery and suspense through the zombie like seared beings chasing after humans, lead by the scent of blood. Chasing down their victims and devouring whatever they may, the Burned Ones add a further level of tension to the story as Azrael hacks, kicks and punches her way to revenge.
Besides the thrilling fight sequences, the underlying mission of the cult drives the story forward. Approaching the cult camp a second time, after being trapped by the cultists, Azrael confronts their leader Miriam (Vic Carmen Sonne) a preacher like figure. Attempting to put an end to the group, Azrael hesitates in taking Miriam down as she discovers she is pregnant.
Resulting in a scuffle that Azrael loses, she is buried alive and left for dead, interred at the opening of a cave. Trying to find her way out, Azrael faces off with another Burned One, who backs off when he smells Miriam’s blood on her hands. Azrael returns to kill her, when Miriam goes into labor. Proceeding to slit her own throat after giving birth, Azrael approaches the child and smiles upon it, who has the appearance of the fabled anti-Christ.
Concluding on a perplexing note, the film does not fail to deliver a slew of gory and horrifying sequences. With the more visceral and vile fights occurring during the third act, the film somehow finishes on an anticlimactic breath.
When initially presented with Azrael, the woman appears capable and peaceful, with her main objective presumably to lead a quiet life with Kenan. After hacking and slashing her way out of the cult’s hands and enraged by the death of Kenan, her rage is justified and the ensuing path of war clear. What confuses the situation is the characters turn to evil.
Understanding the situation and acknowledging the coming of the man of sin, it is confounding to see Weaving’s Azrael turn on a dime seemingly without justification. Perhaps ready to abandon humanity as her past experience has lead her to having no faith left in mankind, Azrael’s shift still has a hurried rush to it and rings slightly untrue to the character as she is presented through the story.
A continuous and unrelenting thrill-ride, ‘Azrael’ presents a glimpse into a world abandoned by hope and ruled by sheer force and brutality. With a commune of people lead by unfounded whispers of the wind and pseudo-religious undertones, the story paints an ugly and abominable picture of where humanity may end up should the worst ever happen. Stumbling ever so slightly towards the end, ‘Azrael’ delivers a whole lot through the outstanding performance from Weaving.
Score: 2/4
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