However limited to the video circuit, Demonic releases for many events. The announcement of Neill Blomkamp’s return as the lead of a feature film, after the missed promises of Alien 5 and Robocop Returns and before the hypothetical Inferno, has created a shock, filming spanning several weeks amid the pandemic. The disappointment is getting bigger.

ESCAPE FROM THE DISTRICT
The Blomkamp case says a lot about the contemporary analytical bias of critics and the public (two entities that have been virtually indistinguishable from one another since the advent of social networks). Shocked to see the effects-laden production reach nearly unanimous and so desperate to crown a holy new sci-fi monster, District 9 viewers have placed all their hopes on the filmmakers, who didn’t fail in their Disappointment with Elysium and the mini Chappie still being held up by a handful. boxer.

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The general obsession for complete artists, the need for commentators on popular cinema to connect with writers to form idols for themselves and in the process remove the logistical complexities and artistic plurality that lead the production of a scientific work. would they not do more harm than good to the director’s filmography, which instantly ignites internet cinema aficionados?

This demon could almost single-handedly answer that question. A virtuoso special effects artist, as his studio production Oats recently proved, and an exhilarating universe builder, Blomkamp often stands out for his visuals, to the point of envying many betrayed fans. (Ridley Scott) for discovering his Alien 5, on the simple belief of concept-art (i.e. a hypothetical and necessarily careful representation of a future sequence). And it’s the same skills that seem to be motivating the making of his new film.

A more daring person would argue that the principles of the tape faithfully represent what some of the filmmakers’ work reduces. Carly is invited to communicate with her mother who is in a coma. And to do this, he dives into his mental universe, animated like a digital watercolor where he can move virtually. An incredibly interesting process traversing all the aesthetic experiments associated with his work, from the openness of possible techniques to references to video games, is evident when hapless Carly’s avatar is framed like Sims lost in their own environment. A world of concept art, in fact, where everyone seeks the essential without suspecting that reality is less bright… and more difficult to manage.

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And this is where the director suffers from the man-orchestral reputation he has forged in spite of himself. Because if he’s careful to grasp the principles of strong science fiction, he’s far from coloring his personality throughout the film. The myth of the total artist crumbled, and reality hit his admirers hard: if he ruled over this part of the universe, Blomkamp could not guarantee the quality of the whole. And the initial good idea seems sterile when everything else is in the bag.

DEVIL, Fuck, Fuck
Because after the discovery of this original sequence, Demonic took water from everywhere. The well-defined structure in 3 acts, a priori which should support the singularity of the essay, finally only manages to reveal the folly of his wit. It’s definitely hard to believe in this fake medical organization, served by a very television set, in a mother-daughter relationship that’s supposed to focus the emotional subtext of things (and make up a fairy tale about forgiveness), in some characters embodied in passion. retired notary (Martin, useless) or, of course, in the revival of that terrible trash, not only burned down by scarce promotional material, but also downright exhausting.

The poverty of things therefore really drugged Blomkamp’s ability to stage his special effects. The proof of this is the devilish title, not technically a shame given the production budget we thought was modest, but very common. Worse, packed by a team that relied on the advantages of the author’s mega-blockbuster prestige, it all evoked a mix: locked demon syndrome, hell’s entrance portal and especially the infamous Vatican intervention unit without ever departing from the unbearable first. degrees , which overloads the scenario however unreasonably.

What inspires this endless climax, the lengthy game of hide-and-seek in which anonymous staging tries – in vain – to energize the languid confrontation, to a very agreed resolution, even rejecting the tragic outcome demanded by the seriousness of the papal scenario since first few minutes. FailureThe demonic resonates more and more as it progresses: the more this convoluted story unfolds, the more the emptiness shines through, until an epilogue takes the breath of those who haven’t slept.

This isn’t a question of “bumping out Blomkamp” rather than thinking about the prism in which you see your talent and how you replace it in the industry. In this case, it’s a producer who relies solely on his name – often replaced by the old-fashioned “by District 9 director” argument in trailers – and nothing else is to the detriment of the film. Hopefully this critical setback (American commentators are much louder than ours) encourages them to make more use of its undeniable quality, which is demonstrated through a nice rough animation or flashback sequence.

Demonic has been available on VOD in France since 15 September 2021 and on DVD and Blu-ray since 20 September 2021