Glorious: A Surreal Two-Hander Battling Existential Dread

The image of Ryan Kwanten’s Wes, crouched inside a rest stop bathroom stall, locked in an existential stare-down with an unseen entity voiced by J.K. Simmons, is the kind of audacious hook that could only come from a filmmaker like Rebekah McKendry. Glorious (2022) isn’t just another horror-comedy; it’s a surreal odyssey through grief, existential dread, and cosmic horror, all crammed into the confines of a single bathroom.

McKendry’s film is a minimalist yet ambitious project, running at a lean 79 minutes. It’s a two-hander between Kwanten and Simmons’ disembodied voice, with supporting roles from Sylvia Grace Crim as Brenda and Andre Lamar as Gary C., among others. The premise is as simple as it is bizarre: Wes, freshly heartbroken, finds himself locked in a bathroom stall with an entity named Ghat (Simmons), who claims to be a god. What unfolds is a psychological and metaphysical battle played out within the confines of a single location—a rest stop bathroom.

The film’s strength lies in its commitment to its absurd premise. Kwanten delivers a performance that balances vulnerability and desperation, making Wes a compelling protagonist despite his circumstances. There’s a raw immediacy to his acting, particularly in the early scenes where he reacts to the horror of his situation with genuine fear and confusion. Simmons, as the voice of Ghat, exudes an otherworldly menace, his gravelly tones lending gravity to the absurdity. The dynamic between the two actors is electric, driving the film’s tension and humor.

McKendry’s direction is inventive, using the confined space to her advantage. The claustrophobic setting amplifies Wes’s despair and Ghat’s omnipresence, creating a sense of dread that is both psychological and cosmic. The film’s visuals are striking, with moments of surreal horror—like the appearance of a bear (Katie Bacque) in the bathroom—that heighten the otherworldly atmosphere. McKendry’s use of sound design is particularly effective, with eerie whispers and unsettling noises emanating from the adjacent stall, creating an immersive audio experience that pulls the audience into Wes’s nightmare.

However, Glorious isn’t without its flaws. The pacing can feel uneven at times, particularly in the film’s second act, where the philosophical musings between Wes and Ghat threaten to derail the momentum. While these exchanges are thought-provoking—touching on grief, existential dread, and human selfishness—they occasionally feel overly indulgent. The film’s runtime is short enough that these detours don’t drag, but they do disrupt the flow of the narrative.

The film’s genre-blending also poses a challenge. The horror elements are undeniably effective, with moments of genuine terror that will satisfy fans of the genre. However, the infusion of comedy and philosophical musings can make it difficult to pin down Glorious’s tone. At times, the film feels like it’s straddling too many genres without fully committing to any single one. This tonal whiplash is a common pitfall for films that attempt to blend horror and comedy, but McKendry mostly pulls it off.

Thematically, Glorious has a lot to say about grief, existential dread, and the toxic nature of human selfishness. The film’s commentary on these topics is genuinely thought-provoking, elevating it above more conventional horror fare. However, these themes are not always seamlessly integrated into the narrative. Some of the philosophical musings feel tacked on, as if McKendry was trying to cram too much into her 79-minute runtime.

That said, Glorious is a bold and provocative piece of cinema that demands attention. It’s not for everyone; fans of traditional horror or comedy might find the film’s genre-blending off-putting. But for those who appreciate surreal, thought-provoking cinema, Glorious offers a unique and unforgettable experience.

In the end, Glorious is a film that takes risks and, for the most part, succeeds. It’s a testament to McKendry’s vision and the performances of Kwanten and Simmons.