Review - Herman (Spoiler-Free)

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Bleak, moody, dark and disturbing epitomise the brand new horror film 'Herman', a frightful indie feature that teases the viewer with unexplainable forces as the fantastical horror slowly unravels. In the director's chair for his feature debut is actor and filmmaker Andrew Vogel, who, together with lead actors Colin Ward and Lawson Greyson, captures a haunting essence and a confrontational reality. The film follows a mountain recluse (Ward), whose torment from a dark force has driven him to lock himself away in the middle of nowhere as he prepares to put an end to his misery. However, late one night, he receives an unexpected knock at the door, forcing him to confront his eerie past. 

 

Herman begins with Ward, playing the film's namesake character, who appears as a solemn older man living a somewhat sequestered and lonely lifestyle. Whilst the opening takes a whistlestop tour of his isolated cabin and daily, rural routine, what becomes increasingly apparent is a deep sadness that sees Herman preparing to take his own life. However, all of this dejecting melancholy is soon plunged into an eerie blackness when a harrowing image of a young wounded woman (Greyson) calling his name reveals itself. Akin to the psychological horror 'You'll Never Find Me' (2023), where the past and reality merge to become a psychological weapon, Herman continuously strives to dress its narrative in a cloak of mystery, forcing the viewer, along with Herman, to slowly puzzle together the horror at hand. As such, the film becomes a labyrinth of confrontation, where intricate details eventually fall into place, revealing a horrifying picture. 

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In developing this breadcrumb trail of Herman's life, the film relies heavily on its performances. Being the central figure throughout, the characterisation of Herman is deeply entrenched with a complexity that speaks to his past, present and future, with Ward subsequently delivering a portrayal that encapsulates the richness of Herman. Throughout, Ward is genuinely enigmatic, without being too rueful regarding his character's events. Similar applause is owed to Suzann Toni Petrongolo and Soni Theresa Montgomery as Sister Mary and Sister Josephine, who dually present an interesting layer to the story. Following is Greyson as Alice, whose haunting interludes added plenty of meat toHerman's bones. And finally, there is Alex James and Vogel himself as James and Max, respectively, who together add a necessary and suited layer of emotional depth to the film. 

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When Herman begins, it would be easy to assume the path of the story, to guess what the key plot points are and gather what is going on. However, narrative-wise, not only is Herman quite the unexpected ride, but how exactly the film unravels is certainly unpredictable. For all its slow-burning, pensive essence, Herman does have its scenes of jarring supernaturalist explorations, with the film heavily leaning into elements of otherness. Vogel quite frequently interjects moments of lingering stillness with interruptions of sudden haunting imagery, bursts of intense changes in the scoring, and an alarming, emotive ambience that emulates the brooding otherworldly horror lurking beneath the surface. 

 

 Whilst the meticulous nature of Herman lends itself to contemplation, with its gradual build-up and drawn-out pacing taking a central role throughout, it is this precise feature that can also show cracks in the film. Herman rides that tricky fine line between pertaining to a slow drip-feed of narrative revelation, whilst simultaneously treading carefully to not become too unhurried. However, watching this process unravel does become a tad bit tedious, as we sit in anticipation to see whether the build-up brewing all along was worth the lengthy wait.

 

Regardless of pacing, it can definitely be said that Herman is an ominous watch, rife with sinister undertones and a morose ambience; all of which becomes heightened at the hands of the standout performances that run throughout. 

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