In Knockemstiff, Ohio and its neighboring backwoods, sinister characters converge around young Arvin Russell as he fights the evil forces that threaten him and his family.
In the already stressful, unforgiving, relentless and terrifying year that is 2020, it can be rather difficult to dig deep and dissect one good thing that this year has given to us. Now me personally, I’ve found some aspects of the year I enjoyed or learned to appreciate (thanks to a still-ongoing quest of self-discovery) but not much can make up for all the lives lost and the lives ruined by death, corruption and abuse of power, all of which make “The Devil All The Time” one of the most accurate exemplifications behind some of our worst traits and qualities in an already fraught beginning to the decade. It’s probably the closest thing to darkness-induced audience apathy that even the most pessimistic of individuals would be skeptical of seeing.
However, it works wonderfully in the films favor. Every other aspect that the film has to offer like the ironclad cinematography and editing, the bleak but euphoric atmosphere, gritty production design, bone-rattling music, tedious but well-warned character building moments and the phenomenal performance banters from the main and supporting cast, especially an electrifying Tom Holland and devilish Robert Pattinson, they’re all sensational.....but it’s not what makes the movie for me. If anything, the very cohesive narrative and tone established really cemented how important this movie was. It’s uncompromising, difficult to watch, very somber and harrowing to the point of punishment but it's a necessary evil for the self-reflective story at hand, as a lot of morbid curiosity is triggered regarding what the boundaries of corruptible faith, religious manipulation and how far is too far until one is satisfied branch out towards. Even if you don’t numb up to the movies graphic depictions of violence (that live up to its R-rating) or agree with the disjointed lack of balance in its pressure-cooked pacing (it never bothered me), you still have to admit this was a bold and audacious route to take. Since Campos’ direction doesn’t dramatize events from the book, it never feels too pretentious or preachy (no pun intended) especially considering how they pull no punches here.
With films like this that demand your patience, it’s a very slow, long ride without a destination to some.....but I believe there was no destination to begin with; that’s the entire point: maybe you were already there. Perhaps you already crossed the line but there’s no telling how far you’ve gone until it’s too late.
