THEM THAT FOLLOW – Review

Opening this weekend is a film about the members of a bizarre religious cult, who put themselves in dire danger, even risking death, at their services and meetings. What country is the home of such fanaticism, urging heavenly forces to protect them as they stare down doom. Most likely a faraway land, perhaps in an underdeveloped impoverished nation? Nope, this new film is set in the world of “serpent-handling” a religious rite that sprang up in this country, the U.S. of A in the last century, mainly in isolated rural communities. Most states have outlawed these rituals, but that doesn’t stop many congregations from gathering in secret locations to test their faith by scooping up rattlesnakes. So, is this film an investigative documentary, full of “hidden camera” footage? Actually, this is a family drama, focusing in on a forbidden love triangle. With hissing snakes. That weird world is the setting for THEM THAT FOLLOW.

Deep in an isolated village in the Appalachian mountains, we meet hard-working teenager Mara (Alice Englert), who runs the tiny house of her widowed papa Lemuel (Walton Goggins), the pastor of the local, secretive snake-handling church. One day Mara and her best pal Dilly (Kaitlyn Dever) hitch a ride into town, supposedly to get cleaning supplies at the general store run by one of the church elder, “Sister” Hope (Olivia Colman). But while Dilly distracts her, Mara swipes a “home pregnancy” kit. She’s promised to one of the young men that her father mentors, fervent “true believer’ Garret (Lewis Pullman). Unfortunately, she has stronger feelings for Hope’s agnostic son ‘Augie’ (Thomas Mann). And the test proves that the two have acted on those feelings. However, Mara continues with the engagement rituals with Garret, hoping that no one will learn of her secret. But what happens when she and her undercover lover are to have their faith “tested” by deadly venom-filled fangs?

A talented cast struggles to bring some urgency to this often muddled script. Lead actress (and relative film newcomer) Englert endeavors to bring out the conflicted nature of the passive Mara. We see her averting her eyes, trying to hide her “shame”, but Englert is able to express Mara’ inner torment (and passion) through her less repressed interactions with pal Dilly and lover (on the “way-down low”) Augie. Luckily Goggins brings some much-needed energy to the lethargic plot as a very believable charismatic (perhaps that’s the “sect”) Lemuel. But it’s in the quieter moments, at home staring at the wine bottle he wants to open when we see the character’s real turmoil. His spouse’s death has left a hole in his heart that no amount of study and sermonizing can fill. It’s a shame Goggins isn’t in a better flick. One of the big draws here is the first big-screen role for Colman since her surprising Oscar win a few months ago for THE FAVOURITE. But Hope is a dour character, admonishing the “young ‘uns” with the sourest expression. Ultimately that works when she exhibits a shocking compassion for the “unclean”, though later her devotion may prove very costly. In an offbeat bit of casting, comedian Jim Gaffigan is paired up with her as hubby Zeke (really, right outta’ “Snuffy Smith”), who has little to do till the gruesome final scenes (he’s the more affable “elder”). Dever, so enchanting this Summer as half of the BOOKSMART duo is regulated to supportive “sidekick” whose main function is to be a “sounding board” for Mara when she not providing alibis. As for Mara’s suitors, Pullman is so stiff and shy we secretly hope for the inevitable “breakout”, much like his BAD TIMES AT THE EL ROYALE “time bomb”. Mann, playing the only real voice of reason and logic, as Augie mainly dashes around in his pick up, until a “bombshell” makes his character do a most abrupt “180” to add an extra bit of much-needed suspense to the last act.

Written and directed by the team (really, it took two) of Britt Poulton and Dan Madison Savage, the film squanders what could be an engaging exploration of belief and faith. Everything looks authentic and lived in, especially Lemuel’s nearly falling apart cottage (maybe more of a shack), but very little of what happens in those settings is compelling. There’s scant passion in the love triangle, so we’re biding our time for the scaly co-stars to deliver on the promises of the marketing department (the trailer and posters have a 1980’s exotic Natassja Kinski vibe). Plus, little is made of the cult’s hiding from the law. Lem and Garret gasp when a state trooper vehicle pulls up from behind them, but the authorities seem to be turning a “blind eye” (though Garret “takes the rap” in one bit of exposition). The subject could have been thought provoking drama or slithery “grindhouse” thrills, but THEM THAT FOLLOW fails to really sink its teeth (fangs) into moviegoers. Hssss, indeed.

1.5 Out of 4 Stars