The moment Annabelle Wallis‘ Madison Mitchell first clutches her head in pain as visions of a brutal murder flood her mind, “Malignant” announces its intention: this is going to be a horror film that operates on a feverish, unpredictable wavelength. Directed by James Wan and written by Akela Cooper from a story by Wan, Ingrid Bisu, and Cooper, the film is a wild ride through madness, blending body horror with psychological thriller elements. It’s a film that demands attention, not for its subtlety or nuance, but for its unrelenting chaos and visceral set pieces.

At its core, “Malignant” is about identity, trauma, and the monstrous within. Madison, an abused wife who begins to have visions of grisly murders, discovers that these waking dreams are real and tied to her past. The film’s central premise is a twisted exploration of dissociation and the self, with Madison’s struggle to understand her own mind mirroring the audience’s struggle to understand the film itself. This theme is amplified by Madison’s adoption and the revelations about her childhood, adding layers of psychological complexity to the horror.

What works best in “Malignant” are its unapologetic embrace of the absurd and Wan’s knack for visceral set pieces. The film’s final act, where the true nature of Madison’s connection to the killer Gabriel is revealed, is a gory, surreal spectacle that leans into its ridiculousness with gusto. This sequence is a love letter to practical effects and creature design, harkening back to classic body horror films like “The Thing” or “Hellraiser.” The way Gabriel is brought to life—emerging from Madison’s back in a grotesque display of special makeup and puppetry—is a standout moment that showcases Wan’s directing prowess. It’s a scene that demands to be seen on the biggest screen possible, a visceral experience that lingers long after the credits roll.

The film also benefits from Wallis’ committed performance. She sells Madison’s torment and confusion with raw intensity, making her character’s journey compelling even when the plot stumbles. Wallis’ physicality is particularly impressive, conveying Madison’s pain and fear without resorting to melodrama. Her performance anchors the film, providing a grounding presence amidst the chaos.

However, the path to this chaotic crescendo is uneven. The first half of the film struggles to find its footing, bogged down by a convoluted plot that relies heavily on exposition dumps and flashbacks. The pacing stumbles, with key revelations about Madison’s past feeling more like homework than organic discoveries. Additionally, the film’s attempts at humor often fall flat, undercutting the tension rather than enhancing it. A scene where Madison’s sister Sydney (Maddie Hasson) reacts to a particularly gruesome revelation with a laugh feels jarringly out of place, highlighting the tonal inconsistencies that plague the film.

The supporting cast is largely forgettable, with Maddie Hasson as Sydney Lake being the sole exception. Her portrayal of Madison’s concerned sister provides a grounding presence amidst the chaos. The detectives Kekoa Shaw (George Young) and Regina Moss (Michole Briana White) are serviceable but lack depth, serving primarily as plot devices to move the story forward. Their investigation feels formulaic, lacking the urgency or intrigue that could have elevated their roles.

Where “Malignant” truly falters is in its structural choices. The film’s narrative is fragmented, jumping between timelines and perspectives without always providing clear context. This can make it difficult for viewers to stay fully engaged with the story. Furthermore, some of the horror set pieces, while impressive visually, lack the emotional weight or suspense that makes them truly memorable. A sequence where Madison is chased through a hospital corridor by Gabriel feels more like a video game cutscene than a genuinely terrifying moment.

The film’s themes are also underdeveloped. While the exploration of identity and trauma is intriguing, it’s often overshadowed by the relentless pace and gory set pieces. The opportunity to delve deeper into Madison’s psychological state or the ethical implications of Weaver’s experiments is largely ignored in favor of spectacle. This is a missed chance to add depth to what could have been a more thought-provoking horror experience.

Despite its flaws, “Malignant” has a certain audacity that makes it worth watching. It’s not a film that plays by the rules, and in an era where so much horror relies on familiar tropes, that’s refreshing. The film’s unabashed embrace of the absurd, coupled with Wan’s directing flair, makes it a unique entry in the genre. It’s a film that will divide audiences—some will be captivated by its wild ride, while others will be left baffled or frustrated.

“Malignant” is for horror fans who crave something different, something that challenges the norms of the genre. It’s not a film for those seeking subtlety or emotional depth, but rather for those who want to be taken on a rollercoaster ride through madness. The film’s cult classic status is well-earned, as it’s the kind of movie that inspires passionate debate and discussion.

In the end, “Malignant” is a film that succeeds in its own bizarre way. It’s messy, inconsistent, and often confusing, but it’s also bold, creative, and unapologetically itself. For those willing to embrace its chaos, it offers a memorable and entertaining horror experience. MCM Score: 6.4/10 — craft 2 / story 1.5 / performances 2 / originality 2 / genre_fit 2.