Best described as uninspiring and tedious, the film "History of Evil" attempts to exploit topical issues in lieu of articulately expressing any valid points. The potential for a significant discourse surrounding America's growing division in the coming decade, as seen in anticipated films like Alex Garland's forthcoming "Civil War," is squandered in this film, which belongs to the nascent "Make America Scared Again" horror subgenre. The film scarcely contributes to either the political or cinematic dialogues, acting more like a mad lib of contentious subjects than a meaningful exploration. Delving into the depths of "History of Evil" to unearth a single redeemable idea is a task not worth undertaking, despite its essential core sharing similarities with a Southern version of “The Shining.”
The central character, Ron (played by Paul Wesley), mirrors a seemingly ordinary man whose spirit is corrupted not by the specters of the Overlook Hotel, but by the ubiquitous hatred polluting this country. Set in a grim vision of the future - 2045 - the narrative unfolds in a world dominated and divided by extreme right-wing evangelicals, a world where these radicals destroy non-believers like local militias in the newly formed "North American Federation." As a member of the Resistance, Ron begins his journey alongside his wife Alegre (Jackie Cruz), daughter Daria (Murphee Bloom), and comrade Trudy (Rhonda Dents), attempting to navigate an enemy checkpoint. Alegre is on the run, seeking escape from the oppressive regime, and their covert mission starts with them seeking refuge in an abandoned house while awaiting evacuation.
The tone of the film transitions from suspense to a supernatural admonition with an unsettling twist- the spectral inhabitant of the old house is a deceased KKK member. The spirit, steeped in prejudice, gradually starts to manipulate Ron while they elude lurking militias and anticipate their escape. Writer-director Bo Mirhosseni attempts to project a similar vibe, akin to the barkeep in "The Shining" being racially prejudiced, in this film. His point being to shine a light on how the violence-infested history of a nation can taint and alter belief systems doesn't hold up.
Albeit an interesting premise, the film falls flat in its execution. The actors offer lackluster performances, with a screenplay and narrative that consistently fall short of grounding them in reality. Cruz and Dents seem to be present only as required props mirroring our hero's downfall, while Wesley struggles to portray a convincing descent into madness. This film should have essentially felt like a Southern Gothic - a harrowing tale illustrating a man crumbling under the weight of an entire history of evil. Unfortunately, the film barely creates an impact, lacking visual gravity and narrative depth for the serious subjects it touches upon.
In addition to these glaring weaknesses, the film also proved vexing in its portrayal of human behaviors, instances where characters nonchalantly accept bizarre or unsettling happenings without the slightest curiosity or apprehension. Mirhosseni, the helmsman of this project, seems to even fear his own prominent ideas. It is an unfortunate miss, the premise that true evil exists in those who doggedly cling on to the past is somewhat captivating, but the filmmaker chooses to instead stick defiantly with his channeled set of below-par concepts.
