Movies
[Review] ‘Totem’ Saves Itself from Mediocrity with Shocking Plot Twist
How far would you go to save your family from the unknown? This is the question audiences are asked as they watch Marcel Sarmiento’s latest film, Totem. The story follows Kellie (Kerris Dorsey), a teenage girl who finds herself filling her late mother’s shoes as head of household. When Kellie’s father moves his girlfriend into the family home, a mysterious and malicious poltergeist will stop at nothing to be rid of the new woman who is disturbing the family unit.
In the beginning, the film is fairly straight-forward, presenting us with the typical horror family structure. We have Abby, the younger sibling who draws ominous pictures and communicates with spirits; Kellie, the angsty teenage sister who resents the fact that her father has a new girlfriend; James, the oblivious father; and Robin, the widower’s new girlfriend who is just trying to fit in and make nice with Abby and Kellie. Don’t yawn yet.
Sure, nothing that happens in the first two-thirds of the film is a surprise. In fact, horror fans, in particular, will be able to time every scare and name what they will be. In one particular scene, there are two cat-jumps-out scares, a quiet-person-appears-from-nowhere scare, AND a ghostly-figure-walks-by-slowly scare. Somehow, despite the lack of originality, none of it is ever boring. On the contrary, the film has several saving graces to keep viewers engaged. The shots are well-composed, the music is decent, the dialogue is believable, and the acting is good on all counts (Ahna O’Reilly, in the role of Robin, steals the show). This will likely be enough to carry viewers until the action picks up a bit later down the line.
Admittedly, much of the film is surprisingly horror-by-numbers for a movie sharing a director with Deadgirl. Regardless of whether or not you feel that Sarmiento’s controversial film went too far in its premise or its depiction of violence, one thing is certain: you have probably never seen anything else quite like Deadgirl. Conversely, we’ve seen a hundred movies like Totem– We Are Still Here, Insidious, and this year’s Annabelle: Creation, to name a few. Totem hits all their same beats with just a little less force. The scares, the characters, and the storyline all seem very familiar. That is, right up until the film completely flips the script in the third act.
The third-act twist was truly unpredictable and nearly jaw-dropping. It is rare that a film- even a horror film- goes there. Totem, with all its horror-for-dummies trappings, does not deserve such an interesting plot twist. Had the first two-thirds of the film been more original, there is no reason Totem wouldn’t generate as much buzz today as Deadgirl did in 2008. It would have been just as controversial, too, had it pushed the envelope further on all counts and gone for the R-rated depravity we horror fans love. Instead, the potential for a great, mature, and truly disturbing film is lost somewhere inside a decent but mostly mediocre popcorn flick more suitable for a younger crowd.
Totem is sure to be divisive. Unfortunately, it’s easy to see why horror fans may outright reject the film. There are just about as many things going against this movie as there are going for it. The acting is decent, but some of the characters are too one-dimensional. The plot twist is great, but the film doesn’t push the boundaries enough.
Despite these issues, Totem deserves a fair shake, if not just for the twist towards the end. There is something to be said for a film that can take rehashed scares that have largely become inside jokes amongst horror fans (loud thump, something falls off the wall, lady in white suddenly appears) and can create something entertaining with them. Totem will not blow your mind, but it will make you cringe in disgust for a couple moments. With a film so simple, that’s more than we could ever ask it to do.
Movies
‘Tha Rae: The Exorcist’ Review: Gory Thai Possession Horror Faithfully Adheres to the Tropes [NYAFF 2026]
Possession films are an exceedingly common subgenre in horror to the point that far too many of them feel far too familiar. This is a generalization, obviously, but it too often seems that someone is possessed, a representative from the area’s dominant religion is called in, and a fierce spiritual battle comes to a dramatic conclusion. The idea that the demon in question always happens to be of the exorcist’s faith and denomination is simply chalked up to plot necessity.
Tha Rae: The Exorcist adds an intriguing wrinkle into that trope by introducing a demonic entity that rebuffs both a Catholic priest and a local Yao shaman. It’s only when the two join forces that they’re able to put up a fight against the evil being.
The film opens with a Catholic exorcist out of options. A possessed child writhes before him, pustules and other signs of devilish control wracking the little girl’s body with snarls and contortions. Unable to beat the demon, and unwilling to let it grow stronger and move to another host, the priest convinces the child’s mother that death is the only choice left – so they plunge a knife into the girl’s heart.
Forty years later, it’s that same priest, Ming (Thaneth Warakulnukroh), who’s become possessed to the point of attacking and trying to eat other villagers. His daughter Malee (Nichaphat Chatchaipholra) arrives to check in on her father, but she too soon falls prey to a possessive entity with a taste for flesh. Two exorcists with wildly differing faiths and styles are called in – Sopha (Phiravich Attachitsataporn) is a self-described Yao witch doctor and TikTok exorcist who uses props, dance, theatricality, and ancestral spirits to combat the forces of evil, while Father Paolo (Jirayu Tangsrisuk) is entrenched in the traditions and rituals of the Catholic Church.
Photo: © 2025 SAHAMONGKOLFILM INTERNATIONAL COMPANY LIMITED ALL RIGHTS RESERVED. North American Premiere
There’s both tragedy and betrayal at play in the narrative of Tha Rae: The Exorcist, but director/co-writer Taweewat Wantha puts the thematic focus on the collaboration and understanding required to go toe to toe with a deviously malevolent force. It’s an interesting spin on the expected formula, and while the rest of the film stumbles in its supporting players and follows more traditional beats – albeit with some fun, gooey gore – that core element is enough to make it stand apart from the crowd.
Wantha broke onto the film scene with 2004’s memorably titled Sars Wars: Bangkok Zombie Crisis and continued that trend with oddball genre comedies like The Sperm and Kindergarten War, but he found major success with the one-two horror punch of Death Whisperer and Death Whisperer 2. His latest is more in line with those hits as jump scares and local mythologies play into his creepy tale of possession and generational punishment.
Tha Rae: The Exorcist arguably has more personality and humor, and both are due in large part to the character of Sopha and the playful but sincere performance that brings it to life. Where Tangsrisuk is saddled with the more straightlaced priest, Attachitsataporn’s witch doctor enjoys his local celebrity and has fun while aiding his community. Sopha’s social media followers expect a show, and he delivers, but there’s an engaging dynamic at play within him.
Photo: © 2025 SAHAMONGKOLFILM INTERNATIONAL COMPANY LIMITED ALL RIGHTS RESERVED. North American Premiere
Sopha’s grandmother was the original witch doctor, and he was just her apprentice. When she passed – and subsequently became the primary ancestral spirit that he calls upon during his rituals – Sopha took up the mantle. For one reason or another, continuing her legacy requires him to carry on with his more feminine foot forward. Makeup, costumes, and a feminine lilt to the way he walks and talks are all part of the show. He apologizes to Paulo for it, but there’s no shame in his words or tone as he embraces the gifts he holds and the power he wields.
There’s no disdain between the two even as they seem initially unimpressed by each other’s efforts. Eventually, though, after each has struck out in dramatic and painful fashion, they realize a combined approach to fighting this particular demon is the only way forward. It’s here where the film shines brightest with the idea that beliefs can intermingle and co-exist without the need for disdain or dismissal.
The two of them are the heart of Tha Rae: The Exorcist, but the meat and potatoes of the genre come in the form of creepy antics and a bit of the ol’ gut munching. Intestines are nibbled, a feral man bursts through floorboards to terrorize young girls, and the possessed have a generally unsettling look about them. Wantha too often neuters his atmosphere and mood, though, by jumping quickly to the gore. It cuts into the horror of it all, leaving the film to work in fits and bursts rather than as a cohesive, propulsive whole.
Shortcomings in both the script and direction prevent the film from coming close to denser, more memorable, and atmospheric possession horrors like It Comes or The Wailing, but its main theme and dual lead characters still offer up an intriguing combination.
Genre tropes exist for a reason, but Tha Rae: The Exorcist is a good reminder that they also exist to be twisted, teased, and, when necessary, torn to shreds.
Tha Rae: The Exorcist made its North American premiere at the 25th New York Asian Film Festival.
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