Movies
‘The Grey’ Is Out Today! Check Out This Additional Review And Write In With Your Own!
Opening today from Open Road is director Joe Carnahan’s (A-Team) The Grey, a thriller that stars Liam Neeson (Unknown, After.Life), Dallas Roberts (Joshua, The Factory), James Badge Dale (The Departed), Dermot Mulroney (Zodiac), Frank Grillo (My Soul to Take, Mother’s Day), Nonso Anozie (RocknRolla), and Joe Anderson.
From my 9/10 Review,”As is the case with the best films, ‘The Grey’ isn’t just a vehicle for Neeson. Or Carnahan. Or the supporting cast. It doesn’t have enough lows for any one element to tower above the rest. In the weeks and years after its release the selling point of ‘The Grey’ will be the film itself. The rare movie about men that acknowledges insecurity and never delves into machismo, it’s the first truly great film of 2012. A masterpiece of survival you’ll be watching for years to come.”
Now Micah Roland writes in, “Honestly, I haven’t been this pleasantly surprised by a film in a long time. ‘The Grey’ is a bleak, gruesome and horrifying action thriller featuring a masterful performance by Liam Neeson. Highly recommended.”
Hit the jump for Micah’s full review! And don’t forget to check back in after you see the film with your review here. Liam Neeson is a bad ass. Whether he’s pulling a fast one on the Nazis, slicing up Storm Troopers, or going ape to save his daughter, the man’s career is full of roles featuring all varieties of badassery. In The Grey Liam is THE BADASS. A role made popular in action and horror flicks over the years; best described as the man with a plan when sh*t goes South. Or in this case, as the trailer so proudly exclaims, the man who will punch a wolf in the face if needed.
After surviving a plane crash, an Alaskan oil drilling team quickly realize that there are worse ways to die. And being eaten by wolves is only one of those worse ways. Director Joe Carnahan’s (Narc, Smokin’ Aces) latest film isn’t simply about bare knuckle boxing wolves (I’d totally watch it if it was though). No, the Alaskan wilderness is no slouch on ways to turn people into stiffs. The freezing cold, lack of food, along with the bitter hopelessness of the wilderness can do the job just fine. The Grey strikes a near perfect balance between outright horror featuring the wolves, who are always lurking, poking, and poaching when the opportunity strikes and the very real and very scary elements surrounding the poor saps unfortunate enough to be stuck there.
As for the wolves, make no mistake, they are downright terrifying. From the first encounter to the last, it’s tense. Really, really tense. My palms were sweaty for a healthy majority of the film in between the moments I wasn’t white-knuckling the theater chair. Initially, I was worried the eerie-eyed wolves may be given too much personification for me to take the film seriously. Like when a certain animal or creature takes up a personal vendetta against a person (think Moby Dick). But that was quickly vanquished and I came to think of the wolves more like the Velociraptors in Jurassic Park; cold, calculated killers.
In what came as the biggest surprise the film also floats in and out of existential campfire conversations. Yep. An existential wolf punching movie. That’s gotta be a first, right? The Grey also packs plenty of touching expositional moments that develop and define the nature and complexity of Neeson’s character. It’s a slow unraveling, but it’s effective nonetheless. Neeson’s performance should be lauded as he’s flat out amazing.
The pacing remains brisk throughout the nearly two hour running time. The arresting landscapes of the Alaskan wild (actually shot in Canada) are often as breathtaking as the action. A particularly emotional scene is turned into a truly special moment in large part due to a phenomenal piece of cinematography which rivals the beauty of an Ansel Adams photo. It’s this constant roller coaster ride of jaw-dropping action horror moments and awe-inspiring terrain that keep the film ever becoming dull.
The other characters in the film are mostly wolf and element fodder, which is to be expected in a survival horror piece. Some of them are stereotypes. There’s a guy who says things like, “Who nominated this guy to make decisions?” and “I’ve had enough of Neeson’s MacGyver sh*t. I’m gonna do my own thing.” But the strained tensions eventually turn friendly as the survivors dwindle and they realize camaraderie is about all they have left. It’s a tried and true formula, but it’s not without a few twists on the old familiar tropes.
Honestly, I haven’t been this pleasantly surprised by a film in a long time. The Grey is a bleak, gruesome and horrifying action thriller featuring a masterful performance by Liam Neeson. Highly recommended.
Oh, and in case your’e wondering. There is wolf punching and it is epic.
Rating: 8/10
Movies
‘Tha Rae: The Exorcist’ Review: Gory Thai Possession Horror Faithfully Adheres to the Tropes [NYAFF 2026]
Possession films are an exceedingly common subgenre in horror to the point that far too many of them feel far too familiar. This is a generalization, obviously, but it too often seems that someone is possessed, a representative from the area’s dominant religion is called in, and a fierce spiritual battle comes to a dramatic conclusion. The idea that the demon in question always happens to be of the exorcist’s faith and denomination is simply chalked up to plot necessity.
Tha Rae: The Exorcist adds an intriguing wrinkle into that trope by introducing a demonic entity that rebuffs both a Catholic priest and a local Yao shaman. It’s only when the two join forces that they’re able to put up a fight against the evil being.
The film opens with a Catholic exorcist out of options. A possessed child writhes before him, pustules and other signs of devilish control wracking the little girl’s body with snarls and contortions. Unable to beat the demon, and unwilling to let it grow stronger and move to another host, the priest convinces the child’s mother that death is the only choice left – so they plunge a knife into the girl’s heart.
Forty years later, it’s that same priest, Ming (Thaneth Warakulnukroh), who’s become possessed to the point of attacking and trying to eat other villagers. His daughter Malee (Nichaphat Chatchaipholra) arrives to check in on her father, but she too soon falls prey to a possessive entity with a taste for flesh. Two exorcists with wildly differing faiths and styles are called in – Sopha (Phiravich Attachitsataporn) is a self-described Yao witch doctor and TikTok exorcist who uses props, dance, theatricality, and ancestral spirits to combat the forces of evil, while Father Paolo (Jirayu Tangsrisuk) is entrenched in the traditions and rituals of the Catholic Church.
Photo: © 2025 SAHAMONGKOLFILM INTERNATIONAL COMPANY LIMITED ALL RIGHTS RESERVED. North American Premiere
There’s both tragedy and betrayal at play in the narrative of Tha Rae: The Exorcist, but director/co-writer Taweewat Wantha puts the thematic focus on the collaboration and understanding required to go toe to toe with a deviously malevolent force. It’s an interesting spin on the expected formula, and while the rest of the film stumbles in its supporting players and follows more traditional beats – albeit with some fun, gooey gore – that core element is enough to make it stand apart from the crowd.
Wantha broke onto the film scene with 2004’s memorably titled Sars Wars: Bangkok Zombie Crisis and continued that trend with oddball genre comedies like The Sperm and Kindergarten War, but he found major success with the one-two horror punch of Death Whisperer and Death Whisperer 2. His latest is more in line with those hits as jump scares and local mythologies play into his creepy tale of possession and generational punishment.
Tha Rae: The Exorcist arguably has more personality and humor, and both are due in large part to the character of Sopha and the playful but sincere performance that brings it to life. Where Tangsrisuk is saddled with the more straightlaced priest, Attachitsataporn’s witch doctor enjoys his local celebrity and has fun while aiding his community. Sopha’s social media followers expect a show, and he delivers, but there’s an engaging dynamic at play within him.
Photo: © 2025 SAHAMONGKOLFILM INTERNATIONAL COMPANY LIMITED ALL RIGHTS RESERVED. North American Premiere
Sopha’s grandmother was the original witch doctor, and he was just her apprentice. When she passed – and subsequently became the primary ancestral spirit that he calls upon during his rituals – Sopha took up the mantle. For one reason or another, continuing her legacy requires him to carry on with his more feminine foot forward. Makeup, costumes, and a feminine lilt to the way he walks and talks are all part of the show. He apologizes to Paulo for it, but there’s no shame in his words or tone as he embraces the gifts he holds and the power he wields.
There’s no disdain between the two even as they seem initially unimpressed by each other’s efforts. Eventually, though, after each has struck out in dramatic and painful fashion, they realize a combined approach to fighting this particular demon is the only way forward. It’s here where the film shines brightest with the idea that beliefs can intermingle and co-exist without the need for disdain or dismissal.
The two of them are the heart of Tha Rae: The Exorcist, but the meat and potatoes of the genre come in the form of creepy antics and a bit of the ol’ gut munching. Intestines are nibbled, a feral man bursts through floorboards to terrorize young girls, and the possessed have a generally unsettling look about them. Wantha too often neuters his atmosphere and mood, though, by jumping quickly to the gore. It cuts into the horror of it all, leaving the film to work in fits and bursts rather than as a cohesive, propulsive whole.
Shortcomings in both the script and direction prevent the film from coming close to denser, more memorable, and atmospheric possession horrors like It Comes or The Wailing, but its main theme and dual lead characters still offer up an intriguing combination.
Genre tropes exist for a reason, but Tha Rae: The Exorcist is a good reminder that they also exist to be twisted, teased, and, when necessary, torn to shreds.
Tha Rae: The Exorcist made its North American premiere at the 25th New York Asian Film Festival.
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