This review contains spoilers.
I’m going to start this review by saying that I’ve followed theRackaRacka guys on-and-off since their early YouTube days and I did not actually realize Bring Her Back was the Philippou brothers’ project until I sat down to write this review. I wanted to like this movie because so many horror pages and film critics recommend it as either a well-written story or one that is truly terrifying.
Sometimes, the audience needs context or a bit of backstory. Not every movie needs to adhere to the Aristotelian unities or follow Chekhov’s rules to be successful or popular. But when your story involves a form of demonic possession not commonly shown in western media, and 75% of your lore is on reddit threads, the audience needs more than a few seconds of Russian home movie footage sprinkled throughout the 100-minute runtime to understand what we are watching and why we should care.
I have too much to say about this one, so to stay focused I’m going to stick to four primary points: immersion, racism, misogyny, and ableism.
“Bring Her Back: Official Trailer” from A24 (April 2025)
Immersion
This movie is not just the second installment in a multiverse series–BHB appears to be part of an ARG, or augmented-reality game. The film’s production team created a subreddit and multiple websites (blackangeltapes.net) with content to expand lore (thisisnotacult.xyz); unfortunately, said content contains information relevant to this film’s plot which could have fixed holes in the story and increased the film’s overall emotional impact. I do believe this film had potential, but the Philippous succumbed to the lure of tired tropes and easy shots which is odd considering how much effort has gone into worldbuilding.
I enjoy ARGs and participated in a few when they first emerged on message forums in the 90s and early 00s, but I audibly groaned upon learning BHB is not only part of its own ARG, but is potentially linked to one of the most popular, Ash Vlogs or I Know Where She Is (IKWSI)–another Philippou project.
If you would like a solid summary and analysis of IKWSI, check out glitchwitch dot jpg’s video breakdown. She also goes into detail about ARGs and how they are used in marketing.

How does all of that impact immersion? That’s the problem. It doesn’t unless you’re playing the game.
Instead of weaving the story into a series of films, providing direct exposition, or introducing us to the characters from the IKWSI extended universe, the non-player audience is thrown into the middle of one story and the beginning of another, and once the two merge, neither are resolved.
The final updates to IKWSI were posted in January 2019 which coincides with the Philippou brothers getting a greenlight on their first major studio production, Talk to Me (2022). Some fans and players appear satisfied with the references in the new films while others have expressed disappointment with the unresolved state of the original IKWSI game.
Meticulous fans noticed similarities between the films and the original ARG, then combed through scene-by-scene and found a few easter eggs.

This symbol appears on a surface in the Russian cult ritual tape that Laura watches.

PomPom is a taxidermied Pomeranian that Laura keeps on a shelf in her home. On the ARG website, a person using the name PomPom posted several times to forums and an auction page asking questions about the VHS tape and the ritual.

Black Angel Tapes is a fictional occult auction site on the dark web and is the apparent source for all of the cursed items, how-to cult rituals, and goings-on associated with the IKWSI universe.
These bits of context would have increased my understanding of the film universe and left me with fewer questions like, why did this Australian social worker have a Russian cult VHS? Ah, a dark web auction. But how did she know about the ritual or that such a tape existed?
If this is an attempt at mainstream or mainline horror, then the audience needs all relevant information presented during the film. Not on separate websites or encrypted with clues. If this is the Philippou brothers continuing their extended ARG, then it should be marketed that way and written accordingly. As it stands, BHB is not wholly one project, but half-attempts at two.
Russophobia & Anti-Indigenous Exoticism
I have been into creepy shit, the occult, and Indigenous oral histories my entire life and I had no idea what the hell this demon, “Tari,” was supposed to be or how it related to Russia. The Philippou brothers break from conventional western demonology several times, but we aren’t given the details necessary to understand why or what is happening.
Granted, I am not an expert on Slavic, “Russian,” or Indigenous peoples of Siberia, so I assumed this was a new one and did a little digging. That was how I found out the movie is an ARG, but I also learned the demon was made up for the story.
Oh.
That makes the appropriation of Russian cultural elements and the demon’s visual rendering worse, but maybe the brothers thought this would be more culturally sensitive. Doubt it. Doubt there was any second thought beyond the fact that some of the old Web 1.0 & 2.0 sites were hosted in Russia or eastern Europe.
I’m not claiming that seedy occult dark web or Web 1.0/2.0 sites don’t exist, just that most folks I know from the Old Internet don’t jump to Russia when asked about haunted item auctions or demonic possession because the creepiest pages were usually German or Scandinavian while Russian pages were good for military history and international weapons sales. What made two Greek-Australians think, Russia?
Because Russia is, but is not, Europe. They have dozens of cultures with their own cosmologies and oral traditions, and two diverging denominations of Christianity: Russian Orthodoxy and Catholicism. All denominations are eschatological and frame morality using binary up/down psycho(visual) schemas: good/evil, light/dark, white/black, god/devil, angel/demon, and so on.
A core difference between great demon movies and the mediocre is the interpretation.
It is therefore disappointing the brothers put so much work into ARG worldbuilding only to reduce their great evil to Red Scare tropes. There is nothing Slavic, Russian, or “eastern” inherent in the story or the demon itself, Tari conveniently speaks English, and we only see the demon’s form once for one brief moment.
Wait a minute… something here looks familiar.

I am begging settler filmmakers and artists to imagine a new primal death spirit or forest god figure that isn’t a Spirit Halloween rip-off of Indigenous cultural figures like Deer Lady, W—o, and S—walkers.
Russian forest spirits and demons do not look like the W—go.
Look at this awesome snout:

Chort is one of the better-known Russian spirits of ancient Slavic origins, sometimes confused or conflated with Bies, but he is usually depicted like a faun or a hairier David Kessler. This means there are no ties to actual stories and the figure itself is culturally-interchangeable (i.e. culture-less).
Reagan would love it.
Misogyny
Hag Horror, Hagsploitation, or Psycho-Biddy, is one of the oldest storytelling tropes in western oral traditions and art, but it endures because creators can rely on them being recognizable; they’re easy.
A weathered old woman, wrinkled, and either very fat or very thin. A woman driven to madness. Her backstory will either be the spurned ex-lover, the grieving widow, the bereaved mother, or the vengeful spinster. She might have a mental illness, physical disability, or physical difference. Finally, she will behave like a domineering man and indulge in sins or vices like drinking.

The Philippou brothers stick to Haghorror’s roots by removing the antagonist from society, isolating her in the woods inside of a sort of haunted house, giving her one of the aforementioned backstories (the bereaved mother), and providing her two familiars (PomPom and Cathy). Bonus points for allying her with the demonic.

What interested me more than yet another grief-stricken woman “losing her mind” after the loss of a child narrative was the story about systemic failures by Child Protective Services. The real horror came from the siblings being ripped from their home, threatened with separation, groomed by a trusted care provider, and victimized. The practical effects horror feels like garnish.
Plenty has been written about Haghorror and its return to cinema, so I’d rather direct y’all to some of that work. I don’t think it’s necessary to list each criticism because they aren’t unique to BHB–they’re characteristic of the genre.
Ableism
My complaints are largely unrelated to Sora Wong’s character, Piper, or the depiction of disability in the film. I was disappointed that so much care was put into crafting a narrative around Piper’s empowerment just to watch a Top 5 list of most tired disability-as-horror tropes affect those around her.

I am not sure if horror stories can be told without an element of ableism or trauma due to the nature and purpose of the genre, but balance is key. Are characters being tortured excessively without reason? Do the actual moments of gore or terror stem from witnessing disability, physical difference, or characters being placed into situations typically experienced by oppressively marginalized communities? Are kids or animals hurt just for shock value?
There’s not even a scale for BHB. It’s all trauma, all despair, all the time. I wanted better for the kids. They deserved better.
For example, I knew what was coming the moment Oliver/Tari entered the kitchen with Andy.

Pay close attention the next time you watch a zombie film or anything in which humans are depicted as deformed, decaying, or demonic/evil and you will find at least one example of a pronounced cleft lip. It’s shorthand for “inbred” or “monstrous.”
In Red Dragon (2002), the killer is driven to madness because his mother, and others, abused him for having a cleft lip and palate. In Romero films, especially Dawn of the Dead (1978) and the Snyder/Gunn (2004) remake, you will find at least one split upper lip or similar facial difference in each large group of the undead.
Don’t get me started on The Hills Have Eyes (1977; 2007).


Fallout is one of the few franchises that I think handles facial differences appropriately in relation to storytelling and the disability metaphor. Most NPCs in Fallout treat ghouls like garbage and discriminate against them within their communities while some take the savior approach and start charities or orphanages.
While the stories still use facial difference as shorthand for “other,” the games force players to come to terms with their own unconscious biases as they encounter ghouls of varying personalities, with individual dreams and morals.


I guess I was just disappointed that “practical effects” body horror was used to demonize mental illness and use facial difference as shorthand for the grotesque. It’s tired. It’s hack.
Final Thoughts
There is nothing new in Bring Her Back and nothing is viewed from a different perspective or inverted to comment on society which makes no sense considering drug addiction, child abuse, etc. being major plot points.
In fact, the best aspects of the film–systemic failure and Piper–are MacGuffins and are never allowed to develop, and the finale falls flat because unless you’re paying attention when Laura quickly comments on the cult ritual working on people who died recently, you might be left thinking the ending is ambiguous or there is something further supernatural going on. We don’t get any of that–we get a sad woman floating in a pool with a corpse.
I don’t think the film is strong enough to stand on its own outside of the ARG and I don’t think the Philippou twins will establish themselves as triple threats (writer/director/producer) if they keep diminishing their work with lack of direction.
If you want games, great. There is probably enough of a market to keep that independent work going on a YouTube channel or through various platforms, but I do not see ARG projects crossing into mainstream audiences because they require too much investment and they’re already restricted by generational interest and Internet community involvement.