PR in the Philippines

(SeaPRwire) –   Fun is a vital emotion in cinema. Fewer filmmakers seem to embrace it these days, and those who manage to foster it rarely receive the recognition their more serious peers do. That’s unfortunate: the adrenaline boost from sitting in a dim theater, cheering and laughing with a crowd of kindred spirits, is growing more undervalued. Yet it’s something we need more of now than ever. It resists awkwardness or tension, at times even overshadowing a film’s predictability.

This rings especially true for They Will Kill You, director Kirill Sokolov’s English-language debut. In many ways, it feels more like a graphic novel than a traditional film: Sokolov aims to craft both the coolest and wildest thriller of the decade, and he largely succeeds. Zazie Beetz’s bold heroine charges through cinematic panels that channel the collective spirit of Lady Snowblood, Foxy Brown, and Dawn of the Dead. The Russian director wears his influences on his sleeve, with each frame brimming with homage—though these influences extend beyond the grindhouse classics that inspired the likes of Tarantino (or Tarantino’s own work). They Will Kill You also draws heavily from Sam Raimi, whose quirky blend of slapstick and gore underpins much of the film’s appeal. Its premise—of a woman battling a satanic cult—also directly echoes 2019’s Ready or Not. Yes, it will inevitably remind viewers of other (some might argue superior) films. But it also captures the perverse joy of watching every possible disaster erupt in spectacular fashion.

What keeps They Will Kill You from being a mere rehash of familiar tropes is its formidable final girl. It’s uncommon to see a Black woman at the center of an action film like this, but Sokolov strikes gold with Zazie Beetz, who balances sharp-witted toughness with vengeful resolve. Her character, Asia Reaves (or, as I’ve decided, my next Halloween costume), has spent her life protecting her sister Maria from their abusive father; the film’s opening flashback reveals the lengths she’ll go to secure their freedom. She shoots her father point-blank when he catches them trying to flee, but abandons Maria when police arrive. This mistake costs her 10 years in prison, where she hones her combat skills with ruthless precision. These skills prove crucial when she arrives at the Virgil, an ancient New York high-rise where Maria (played by Industry’s Myha’la), now an adult, reportedly works as a maid.

From the instant Asia, disguised as a soft-spoken new maid, steps through its doors, it’s clear the Virgil is a nest of wickedness. Its exterior is adorned with demonic motifs, and its front door features a lock more suited to a bank vault. The building’s caretaker, Lily (Patricia Arquette, with a gentle Irish accent), is equally suspicious, as are the residents Asia meets in the lobby. Luckily, Sokolov wastes no time unmasking the Virgil’s true nature, and Asia is ready to fight her way out of whatever hell awaits. She barely sleeps before a group of poncho-clad, pig-masked cultists sneak into her room and attempt to sacrifice her. But once she retrieves the weapons she stashed in the closet—a machete, shotgun, and rusted knives—it becomes clear: she’s not trapped in this death trap. Her captors are.

They Will Kill You fully commits to its first showy battle, reveling in severed heads and limbs bursting into bloody chunks. What might feel like gruesome body horror elsewhere becomes a perfect punchline here: bodies crash dramatically into walls when shot, and others spurt blood like fountains when sliced. Crucially, these cultists rise again after clashing with Asia. Their pact with Satan grants them immortality, letting Sokolov reuse stars like Heather Graham and Tom Felton in increasingly brutal fights. The director also delights in testing this immortality’s limits, pushing They Will Kill You into cartoonish territory. One of the film’s most unsettling (and absurdly funny) moments sees a headless body lumbering forward; a dislodged eyeball, severed in a gory shot, rolls through the Virgil, spying on Asia.

These practical-effect gags give They Will Kill You a distinct edge over the films it homages. It’s a pity there aren’t more: the story’s biggest flaw might be its lack of specificity in its pastiche. Sokolov clearly adores pulp storytelling, but simply blending these disparate influences into a “loving tribute” isn’t quite enough.

This missed opportunity is most noticeable in the Virgil’s underdeveloped identity. There’s a half-hearted nod to The Raid as Asia searches for Maria, and her surly guide, janitor Ray (Paterson Joseph), explains each floor of the Virgil is dedicated to a deadly sin. The film gets an easy laugh from a floor that’s essentially one massive orgy, but it doesn’t dig deeper. It’s hard not to wonder what a richer exploration of this world could have looked like—but They Will Kill You also anchors itself in the story’s heart, making its vagueness forgivable.

The film wouldn’t work without a compelling reason to fight, and Sokolov provides that through Asia’s devotion to Maria, grounding supernatural chaos in sisterly conflict. Beetz carries They Will Kill You with grit and tenacity, while Myha’la’s quieter, more vulnerable performance gives the film a tender core. Its connection to Ready or Not surfaces in the tension between a hardened survivor and the family she left behind, but They Will Kill You handles this dynamic with greater nuance. When Asia faces a dozen Virgil cultists holding Maria hostage in a pitch-black room, armed with a flaming axe, it’s undeniably cool. But you also care about these characters—who, unlike their foes, aren’t invincible. The fun here may be the best of the year, but it’s backed by genuine heart, regardless of its flaws.

They Will Kill You premiered at SXSW on March 17. It opens in theaters on March 27.