Name: The Devil All the Time
Genre: Crime, Drama, Thriller
Released: 2020-09-11T00:00:00+00:00
Cast: Tom Holland, Robert Pattinson, Bill Skarsgård, Riley Keough, Jason Clarke

The noose swings in the wind, a silent sentinel of the suffering to come. This opening image from Antonio Campos’ The Devil All the Time (2020) sets the tone for a film that refuses to flinch from the darkness lurking beneath the surface of rural Ohio. Based on Donald Ray Pollock’s novel, Campos’ adaptation is a Southern Gothic crime drama that weaves together a web of sinister characters, all orbiting around young Arvin Russell (Tom Holland), as he navigates a world rife with corruption, violence, and twisted faith.

What it is: The film spans several years, alternating between pre- and post-World War II timelines. Willard Russell (Bill Skarsgård), a soldier returning from war, struggles with PTSD and turns to religion for solace—but not in the way one might expect. His son Arvin becomes the moral center of the story, caught between the evil forces closing in on him: Reverend Preston Teagardin (Robert Pattinson), a charismatic but manipulative preacher; Deputy Lee Bodecker (Sebastian Stan), a corrupt lawman with a penchant for young girls; and Carl Henderson (Jason Clarke) and his wife Sandy (Riley Keough), who run a seedy roadside motel. The film’s split chronology mirrors the cyclical nature of violence, suggesting that some sins are inescapable.

The ensemble cast delivers strong performances, with Pattinson’s Reverend Teagardin standing out as a standout. Pattinson brings a chilling charm to the role, making Teagardin both terrifying and eerily compelling. Skarsgård is equally impressive as Willard, conveying the character’s inner turmoil with raw intensity. Holland holds his own as Arvin, grounding the film in a sense of moral clarity amid the chaos.

The film’s atmosphere is thick with dread, amplified by the oppressive sound design and cinematography that emphasizes the claustrophobic setting. Campos’ direction is purposefully provocative, refusing to soften the edges of Pollock’s bleak vision. The film’s central themes of faith, sin, mercy, and death are woven together in a way that feels both timely and timeless.

What works: Campos and his brother Paulo’s screenplay captures Pollock’s unflinching brutality, particularly in scenes like Willard’s harrowing PTSD-induced breakdown or Arvin’s brutal confrontation with Roy Laferty (Harry Melling). The ensemble cast delivers strong performances, with Pattinson’s Reverend Teagardin standing out as a standout. Pattinson brings a chilling charm to the role, making Teagardin both terrifying and eerily compelling. Skarsgård is equally impressive as Willard, conveying the character’s inner turmoil with raw intensity. Holland holds his own as Arvin, grounding the film in a sense of moral clarity amid the chaos.

What falters: For all its ambition, The Devil All the Time stumbles under the weight of its own bleakness. The relentless misery can feel gratuitous at times, and the film’s pacing is uneven, with some narrative threads feeling rushed while others drag. The non-linear timeline, intended to heighten tension, occasionally confuses rather than clarifies. Additionally, the film’s commitment to its dark tone means that moments of levity or hope are few and far between, making it a grueling watch at times.

The film’s bleakness is not just in its subject matter but also in its execution. Campos’ insistence on dwelling on the darker aspects of human nature can feel heavy-handed, as if the film is determined to shock rather than explore. This is particularly evident in the film’s treatment of faith, which is portrayed almost exclusively as a tool for manipulation and control. While this is certainly one aspect of religion, the film’s refusal to acknowledge any redemptive or positive aspects of faith feels reductive.

In comparison to other films in the Southern Gothic genre, The Devil All the Time lacks the nuance and subtlety of works like Nightcrawler (2014) or Winter’s Bone (2010). Those films also deal with themes of violence and corruption but manage to find moments of hope and humanity amid the darkness. In contrast, The Devil All the Time offers little respite from its unrelenting bleakness, making it a more challenging and less rewarding viewing experience.

The film’s pacing is another issue. The non-linear timeline, while intended to heighten tension, often feels confusing and disjointed. This is particularly true in the film’s third act, where multiple storylines converge in a way that feels rushed and unsatisfying. The film’s climax, in particular, suffers from this hasty resolution, with key plot points being glossed over in favor of a quick and violent conclusion.

Despite these flaws, The Devil All the Time is not without its merits. The performances are uniformly strong, with Pattinson and Skarsgård standing out as particularly impressive. Holland also holds his own as Arvin, grounding the film in a sense of moral clarity amid the chaos. The film’s atmosphere is thick with dread, amplified by the oppressive sound design and cinematography that emphasizes the claustrophobic setting.

Verdict: The Devil All the Time is a grim, uncompromising exploration of evil and redemption that demands your attention but doesn’t always deserve it. It’s a film for those who can stomach its unrelenting bleakness and appreciate its bold direction and strong performances.