THE OTHER LAMB – Review

Tired of being all cooped up in your home? Well, that’s a ridiculous thing to ask. Most of the national parks are closed off, so how about a cinematic foray into nature, eh? Ah, but Hollywood has taught us that the forest is just full of unspeakable menace. Yes, it’s a familiar backdrop for lots of horror tales, especially those lower-budgeted “chop jobs” (they don’t have to build elaborate haunted castles and mansions). And yes, this new release can be considered a thriller, but it’s more atmosphere than gore. That’s because this flick’s monster is not a ravenous mutant-bear nor a masked maniac slashing frisky teens with a big blade. No, his weapon is his mind as he manipulates and exploits others. And at the center of the story is one of his “followers” who realizes that she is THE OTHER LAMB.

It does begin deep in the woods as we observe a group of women (including a toddler) going about their daily chores: washing linens and clothing, sawing wood planks, repairing the roof of a shack (decorated with a face resembling Christ), preparing food, and tending to a herd of lambs. The women are divided by the color of their clothes (dresses that cover their bodies from the neck to the ankles with sleeves ending at the wrists), but all of them wear their hair in tight buns and braids (no loose strands down the neck). As they talk we learn that deep cobalt blue color denotes a daughter, while a red-tinged magenta is worn by wives. And what of the fathers and sons. No, there is just one, a man who the women call “Shepherd” (Michiel Huisman), the aforementioned mural face. He presides over this cult with his “herd” taking care of his every need, sending them into a fevered frenzy with his sermons and lectures. The daughters (the youngest seem to be his actual offspring) can graduate into wives. That’s the only goal for teenager Selah (Raffey Cassidy) who will push any of her “sisters” aside to gain favor with the Shepherd. But she’s tormented by nightmares full of strange visions (floating figures and lots of blood). Speaking of which, Selah tries to hide the onset of her period (they are considered “unclean” by the “sin of Eve”). But that’s of little importance when the Shepherd announces that they must vacate their home (the previous night Selah saw him talking with a policeman near his parked patrol car far away from their quarters). This begins a long arduous trek, one that will test their faith in all, and who, they believe. But could those dream images be a warning to Selah?

As the tale’s main focus Selah, Cassidy portrays a heroine with a most complex and compelling character arc. In the beginning, she’s very unlikable, with no real concerns for anyone else in the family save its leader. It’s the title role in ALL ABOUT EVE if it were about a shadowy cult rather than Broadway (hmmm, maybe not that much of a leap), as she will tread over anyone in the way of her goal. Then she has an awakening as she must deliver “leftovers” to those formerly in her master’s good grace. This new found empathy opens her eyes and Cassidy adjusts her body language, striding with more confidence and purpose. This occurs even as she subtlety questions “him”. Huisman, in that role, tempers his fervent energy and laser-point charisma, twisting the “wild maniac” crazed cult-leader cliche of many films. His quiet demeanor seems to draw in the flock. Then he’ll flash a smile that burns right through them. It adds more power to his intimate nights with those “chosen” as his tender caresses suddenly turn sadistic as his beefy hand clamps down on a pale throat and his fingers reach into their mouths, making his lambs gag and choke. He’s no loving messiah, but rather a cruel deviant predator. Denise Gough is superb as one of the former favored wives, Sarah, who is part of Selah’s “wake up call”, especially as she shows her disgust with the Shepherd by yelling out his “real” true name. In fact, all the wives and daughters are quite convincing as they literally sing his praises after his “blessing’ has swept them up in a wave of screeching hysteria.

Director Malgortza Szumowska, working from a script by feature film newcomer C.S.McMullen, wraps the story with an atmosphere of sinister, cold dread. That’s especially true in the exchanges between the family members and Shepherd, whose responses are unpredictable. A gentle brush against a pale cheek can switch to a brutal slap. The dream sequences are also a roller coast ride, as the tranquil floating angelic figures cut to crimson-splattered visions of women and beasts. And just what is going on with the twine and string going from tree to tree. Are the women entangled in Shepherd’s web of deception? This is all heightened by the soft, moody cinematography from Michal Englert. Unfortunately, the sluggish pacing may frustrate many viewers as will the somewhat abrupt and ambiguous end scenes. But for those wanting to get a good slow scare and a general sense of off-kilter unease all wrapped up in backwoods cult mania, then THE OTHER LAMB may be just the vicarious cure for “cabin fever”.

2.5 Out of 4

THE OTHER LAMB is available as a Video on Demand on most cable, satellite systems, and streaming apps and platforms.