Braid, directed by Mitzi Peirone, starts as a home invasion thriller in the vein of 2016’s Don’t Breathe wherein the target of a criminal heist quickly turns the tables on their aggressors, causing you to rethink who is in control in this scenario. The horror flick morphs throughout its runtime, incorporating elements of torture porn, stoner film, and even a David Lynch inspired abstraction towards the conclusion. None of this ultimately works though, as this hallucinogenic thriller is neither creepy nor clever, but rather uniquely unpleasant to watch.
Rule Number 1: Everyone Must Play
The story commences as we follow two wanted fugitives, Tilda (Sarah Hay) and Petula (Imogen Waterhouse), who are in hot pursuit by the police after being on the verge of capture during their latest robbery. It’s quickly revealed that the two have hatched a new scheme to infiltrate the decrepit mansion of their childhood friend Daphne (The Handmaid’s Tale’s Madeline Brewer) and steal her grandparents’ inheritance from a hidden safe. The only problem for the two thieves is that after a traumatic accident from their youth, Daphne has grown to be a deeply disturbed woman, now living in a delusional world in which she is the mother of several children.
In order to acquire the money, the two thieves will have to play Daphne’s depraved game of make believe, whereby Tilda must pretend to be Daphne’s daughter, while Petula must pose as a doctor. On paper this game sounds innocent enough, however, it is quickly shown to be far more twisted as Daphne is not above mutilation in order to teach her “daughter” a lesson. Over time it is revealed that there is more to the game than initially believed as secrets from the girls’ collective childhood are gradually brought to light.
Horror Antics Go From Zero To One Hundred
Braid lays out an admittedly wacky and unique premise, but it is instantly marred by the film’s insistence on cutting to the chase without proper suspense or character development. This is most apparent when, within seconds of engaging in the role-playing game, Daphne is just mere moments away from cutting off her “daughter’s” fingers as an act of punishment. While this haste complements the zany, disorienting introduction of the film, it severely undercuts the creep factor as most of the fun from this genre comes from the gradual revelation of just how unhinged the aggressor is.
Additionally, while the cast is undeniably small, the screenplay doesn’t take advantage of this intimacy and never establishes a compelling rationale as to why this trio of women are so connected. What’s more, the limited supporting characters are so thinly written that it is jarringly obvious that the sole intention for their inclusion was to provide some murder fodder for our psychotic villain. As a result, from the moment a certain supporting character appears on screen you are counting down the minutes until they will undoubtedly meet a grizzly end.
A Pompously Indulgent Style
Braid also falters through its laborious use of overindulgent flourishes, with the camerawork that seems almost amateurish rather than visionary. Decisions such as switching the color palette to black and white for no discernible reason as well as including entire sequences flipped upside down serve to distract rather than to augment the hallucinatory properties of the film. All of this comes off as pompous and almost arrogant rather than as a confident approach to a clear artistic vision.
Building on this air of arrogance are some of the most repugnant protagonists in recent memory. Having two protagonists who are already lacking any shred of moral decency could have worked to the story’s advantage as this is the cornerstone of the best home invasion reversals. The idea of morally depraved characters suddenly winning the support of the audience as their moral shortcomings seem so minuscule in comparison to the horrors they endure can add an extra layer of disturbing material.
Braid decides not to take this approach, however, and as such, the story is merely composed of a bunch of icky, sadistic women gruesomely torturing one another. It’s impossible to root for a single one of these women, much less care what ultimately happens to any of them.
Conclusion: Braid
While most of the film doesn’t work on any level, the film’s only saving grace is the drug-infused aesthetic that permeates the bulk of the film. Characters wandering through the courtyard of the sprawling mansion whilst being high on psychotropic drugs produce some beautifully lurid sequences that are instantly memorable. The combination of ghostly neon lights with the eerily dilapidated mansion makes for an interesting contrast that lends itself to the surrealism the film is aiming for.
Beyond creating a novel aesthetic, there is little to recommend about watching Braid. Although the film ultimately posits that there is far more going on than meets the eye, the movie has more than outworn its welcome by this point. As the viewer, you will be left wanting to desperately escape this incoherent mishmash of genres, preferably leaving the revolting protagonists behind.
What did you think? Was the dreamlike aesthetic enough to compensate for the thin story? Let us know in the comments below!
Braid was released in U.S. theaters and Digital HD February 1, 2019. For all international release dates, see here.
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