Movies
[BD Review] Entertaining ‘Here Comes the Devil’ Highly Sexual & Violent, Yet Poorly Made
Being a critic can be difficult because you have to weigh the artistic integrity of a film alongside the entertainment value. Adrian Garcia Bogliano’s Here Comes The Devil is the complete opposite of Berberian Sound Studio in that it’s incredibly entertaining, yet poorly made. It’s also worth noting that Bogliano appears to be growing as a director, but still can’t figure out how to close out strong.
Here Comes the Devil begins after two kids vanish during a family vacation in Tijuana and return mysteriously the next morning. They clearly are not the same. The parents begin to investigate believing that maybe a local man had sexual abused them in a nearby cave, although it turns out something much more sinister is afoot.
Bogliano tells stories from a very different perspective than most filmmakers, and it feels vaguely that it may relate to a lack of film knowledge and experience (odd for a filmmaker with several films under his belt). Yet, he somehow crafts a unique experience that’s both engaging and shocking. Still, it will be harsh on filmgoers’ eyes as the final product is bizarrely ugly, poorly blocked and is arranged in an odd manor – but chaos in filmmaking can sometimes translate into a unique and captivating final product. Unfortunately, Here Comes the Devil only touches the surface of greatness. Mostly, it’s a sloppy film with some really crazy moments…and a whole lot of sexual tension.
Here Comes the Devil is early 1970s inspired, reminiscent of the classic Dirty Harry films. It also touches on themes of Devil worship and supernatural haunts like the infamous The Entity. There are intense sexual situations, coming-of-age themes, insane supernatural jolts, and quite a few gory moments; it’s got a little bit of everything for the hardcore horror nut.
The end lacks any sort of real punch but still manages to be slightly poetic. It’s hardly the way one would want a movie to end, but it’s hard to knock a film for wrapping it up so cleanly. And while Bogliano is getting better as a filmmaker, it’s highly advised that he attend some sort of filmmaker seminar or class to learn how to add some production value to his gritty, student perspective.
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
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