MOVIE REVIEW – “Soulcatcher” starts off promisingly as a great horror, but almost immediately descends into a laughably weak action thriller. Although the opening scene hints at great potential with the distant rumble of an explosion and the frenzied sprinting of people in the background setting the mood, from that point on, the movie goes downhill.

What’s worse than watching a poorly made movie? Seeing how much potential a poorly made movie had. For instance, since we’re on the topic of sci-fi and films based on Julius Avery’s works, there’s “Samaritan”. It had a solid plot and approached the superhero sub-genre from a fresh perspective. However, it lacked depth and passion. Talking about Netflix releases, there was a movie titled “Awake”, where a global power outage deprived people of the ability to sleep. Yet, it failed to create memorable moments or tension in this intriguing narrative. Sticking with Netflix’s sci-fi movies, there’s “The Cloverfield Paradox”, where a strange accident throws a crew of astronauts into an alternate dimension. I must say, the film neither exploited the “thrills” nor leveraged its brilliant cast. All these issues are also evident in “Soulcatcher”…

“Cherhez la femme”! (Or maybe don’t…)

The film “Soulcatcher”, directed by Daniel Markowicz and co-written with Dawid Kowalewicz, narrates the story of a mercenary group led by Kiel, dispatched to rescue Eliza Mazur, a woman held captive by a war criminal. Apparently, Eliza has tangible evidence of the war criminal’s deeds, which, if handed over, could help the Polish government neutralize a potent threat. Initial signs indicate things aren’t going as planned when the group finds themselves in hostile territory: the person supposed to lead them is no longer alive, a mysterious woman covered in face tattoos emerges, and faint whispers fill the air.

However, the mercenaries persist; they manage to free Eliza and begin their retreat to their ship. At this point, an angry mob attacks them. Only after two of their members obey a powerful machine emitting waves and sounds does Kiel realize something catastrophic is happening. Thus, a simple rescue mission suddenly turns into a seek and destroy task before this device is unleashed upon the world.

The sense of missed opportunity amplifies when the mercenaries repeatedly stop to chat with Eliza, who just acts like the typical “damsel in distress”. She’s not truly a character, merely a reason to shuffle the mercenaries from one point to another. This would have been forgivable if Eliza ends up sacrificing herself to kill the scientist and complete the mission, but she doesn’t. By the film’s end, we forget she even existed.

A Shoddy narrative masked as “deeper message”?

Diving into “Soulcatcher” had its sole advantage – I hadn’t seen the trailer, read the plot summary, or even knew the movie’s genre. I just clicked on its title on Netflix and started watching. The first ten minutes piqued my interest. Due to its chilling atmosphere, it felt as if Markowicz’s creation could join ranks with movies like “Predator”, “Dog Soldiers”, and “Overlord”, where a military team is overtaken by something supernatural. But instead of staying in the forest teeming with zombies, the soldiers just leave. They return with reinforcements but depart again by the end of the second act. And in the third act? Same routine: they return, then leave again. It’s as if Markowicz and Kowalewicz are deliberately resisting viewer immersion. But what’s the reason behind this baffling narrative choice?

It seems Markowicz and Kowalewicz believed their deeper political commentary in “Soulcatcher” about fascism, brainwashing, and the future of the arms industry was more essential than an elite squad’s battle against a mad scientist capable of turning people into raging beasts. They failed to recognize that the back-and-forth movement within the narrative stifles subplots from flourishing. This structural choice highlighted the lack of depth in their writing. The machine capable of shutting down human cognition brutally showcases unchecked power. There’s no need to elaborate on why this machine was created unless they think audiences can’t grasp a simple reference. The movie’s characters unfortunately show little character development. Over time, they just become battle-ready soldiers. The relationship between Kiel and Piotr attempts to tug at our heartstrings, but like other parts of the film, they aren’t given enough screen time to tie Kiel’s motivation to his affection for Piotr.

The action, at times, feels rather cheap…

In “Soulcatcher”, the plot is the most significant letdown. However, it’s worth acknowledging that the movie parades several spectacular stunt sequences. Many scenes were shot in real locations, incorporating a lot of breakable elements to amplify the authenticity. Yet, in some places, the visual effects and CGI are less than convincing. The most pressing issue is the lack of tension and momentum needed in the otherwise grandiose action scenes. The camera movements seem to wander aimlessly across the screen. Some sequences drag on, and it’s evident the actors are uncertain of their roles, often aimlessly roaming the frame.

One peculiar scene involves Kiel fighting a character purchasing the brainwashing machine; the fight unexpectedly transitions from the surface to an underground setting without any provided explanation. The film lacks attention to narrative continuity. Furthermore, the sound design raises eyebrows. Some actor movements have sound effects, while others do not. This inconsistency makes the overall experience feel disjointed and unpredictable. There are also issues with the film score. It seems as if the composer crafted music more suited for a deeper, artistic piece rather than an action film.

It’s not the actors’ fault…

I wouldn’t spend too much time on the cast since, as evidenced, “Soulcatcher” grapples with some less-than-professional creative decisions. The actors, in fact, seem to be the ones encouraging viewers to give the movie a chance until the end. Piotr Witkowski’s performance is commendable, evidently doing his action scenes. In his role as Harbir, Vansh Luthra represents South Asian culture with a ‘kirpan’ dagger typically carried by members of the Sikh community. He even wields a ‘chakram’ in one scene, which is impressive. There’s evident chemistry between Michalina Olszanska and Piotr, slightly counterbalancing Kiel’s quest for revenge. Sebastian Stankiewicz, Mateusz Mlodzianowski, and Aleksandra Adamska form a good team, but individually, they don’t leave a profound impression. Jacek Poniedzialek appears bewildered throughout the movie, while Jacek Koman emerges as the most predictably wicked character. Mateusz Rzezniczak mostly remains in the background but showcases his combat skills towards the end, which a distracting flashing light effect overshadows.

In conclusion, “Soulcatcher” cannot be considered a good film. It could have been, had Daniel Markowicz and Dawid Kowalewicz precisely known the direction they wanted their story to take. While the movie doesn’t contain overtly offensive scenes, it might still be worth a watch. If you’re battling insomnia, it’s guaranteed to put you to sleep. The rest is up to you. If you crave a movie where a team of individuals battles the supernatural in a rural setting, go for “Overlord,” “Predator,” “Dog Soldiers,” “Aliens,” or “Outpost.” But if you’re intrigued by themes of brainwashing or mind control, you can choose from titles like “Kingsman: The Secret Service,” “Hirak Rajar Deshe,” “The Matrix,” or “V for Vendetta.”

-BadSector-