All You Need Is Death (2023) User Reviews

A solid concept but wholly misses the mark in every other regard

[kannibalcorpsegrinder · 4/10 · 12 April 2024]

Learning of a potentially intriguing story, a pair of documentarians committed to recording long-forgotten folk songs learn of a potentially long-forgotten song in the Irish countryside and set out to capture it against the wishes of the locals, unleashing a bizarre curse that envelops them both.

This was a rather problematic genre effort. Most of the film's positive points stem from the central setup and atmospheric touches running throughout here which provide a genuinely engrossing sense of mystery. The main idea of relying on the power of traditional and even sometimes generaltional customs, in this case regarding the nature of the mythic song in question, offers the kind of fascinating insight into the past that this one relies quite heavily on. With the majority of the middle half devoted to how this plays out regarding how to honor the traditions of the past that has used a specific medium over time, this kind of corruption makes for an intriguing setup looking at the way it unfolds involving the king of unraveling curse thtat takes place. That allows for some rather chilling scenarios to take place here as a result with the way it all comes to include various gruesome attacks and cofrontations to let the curse play out. Outside of this, though, there's just not much going on here to remain interesting. Far too much of the film is reliant on the idea of the curse coming to fruition but it's never given much of any care of orinterst in what that means or why they're interested in getting the song recorded. The whole concept is so wacky and bizarre that there's no real grounded form in play here to make things have an emotional attachment to it so that comes off rather flimsy and awkward, especially as this one goes along with the aspects of the curse as that doesn't get explored in the slightest so it all makes for a confusing time. When it's not concerned with the aspects of the curse, it's just flat-out dull as very little happens so the pacing here is completely stiffened to the point of plodding blandly along to where it's nearly impossible to care about the story going forward. There's so little life or energy in what's going on that it just doesn't register anything but boredom, all of which hold this down overall.

Rated Unrated/R: Graphic Language and Violence.

I wanted to love this one, but its not possible

[salmon62 · 4/10 · 12 April 2024]

Im a fan of foreign horror because they usually offer fresh takes. This movie is no exception and the story starts off interesting and engaging. We don't know who is who or what is afoot.

When the story gradually unfolds, and a curse is revealed, I sought to identify the rules of the curse and the entity who created it.

This revelation never comes, the curse is generic-, something about unhealthy love and betrayal passed down between women by pre-Irish song.

There is a story here. But the resolution is convoluted and unsatisfying. It seems like a cosmic element is at work, but this is not clear or horrifying.

In the end it feels like a bunch of things were thrown into the mix of a modern day fable.

Love is a knife with a blade for a handle!

[silentgamer-13481 · 5/10 · 13 May 2024]

One of the best horror movies I've seen in a long time yet I'm unable to give it a higher rating due to the lackluster screenplay. But it's a got a strong plot and I loved Simone's performance. I'm also shocked to know that a movie like this has received such minimal coverage cause it's a really good movie. The movie is about cursed Irish folklore songs and the darker aspects of love, unconventional and surreal kind of presentation, excellent dialogues. The ending is probably going to leave you a bit disappointed but when you put the pieces together, you'll realise that the movie is a masterpiece, yet, it's unusual storytelling style gets little points from me. Its a Must watch..

It's different.

[bombersflyup · 4/10 · 23 April 2024]

A young couple who collect rare folk ballads discover the dark side of love when it's secretively recorded and translated an ancient, taboo folk song from the deep, forgotten past.

Engaging in its eerie disturbing uniqueness, certainly accomplishing its label of horror, unfortunately though there's little else here. Finding things of value from the past that have been overlooked is kinda what I do too, hehe. The problem here is when the value or reward's removed, it becomes less interesting, as they're merely vessels and if that's the case, the reason it was being sought after in the first place needs to be stated. Could've done without the end as well, Anna seemed sound of mind, not sure why she lets herself be a sacrifice.

Half way in I wanted to die

[bettyshields-43289 · 3/10 · 10 May 2024]

So it's always interesting to go into a film based on the reviews and accolades it has gotten and the fact that it's a foreign film. There's a certain allure to its potential and ability to give us something new. Sadly I can't really speak to any of that being a function of this film. It just never feels like anything is really happening outside of the engagement with the actual music being sourced and the characters it's sourced from. I really did want this to be a Lynchian world of bizarre visuals and a truly uncomfortable exploration of the human plight through attaining that which we shouldn't. It never rose to that level but I think there's the possibility they can attempt again to get there on the next go around.

Gloriously unhinged folk horror you will hear before you see.

[dedalus-39024 · 9/10 · 17 October 2023]

Minor Spoilers Ahead.

I was lucky enough to attend an early screening of Paul Duane's first horror feature 'All You Need Is Death'. The plot follows Anna and Aleks as they navigate the unsavory underbelly of black-market traditional folk music archivists. And this is about as much sense as the plot ever makes on first viewing. It is gloriously unhinged, but once you buy into this batty premise you learn that there are shadowy figures willing to pay top-dollar for ancient songs or variations thereof. Anna and Aleks are just the duo to record these songs on tape. In their hunt they hear of a woman who might have a song from the olden days that no one has ever heard before - so they go seeking her out. The song contains more than just lyrics, melody or story. As Aleks and Anna learn soon enough.

This film (that song sequence) will change the way and why of how you listen to music. An extraordinary accomplishment from such a small production - and I couldn't make such a bold claim if this film did not have the musical chops to back up its wild thesis. Let me assure you it does. Ian Lynch's soundtrack is outstanding - an atmosphere seeped in menace and dread. A shout out too to Barry Gleeson & Simone Collins (amongst others) for their brilliant, "in the old way", sean-nós performances. I often found myself relishing the prospect of the next terrifically effective song more than I did the next scare. Up to a point that is - because as we approached the climax the horror builds and builds to fulfil its dreadful, demented promise. And brilliantly so.

A final note. There is a lot going on here. On one viewing I struggled to make recognize some of the foreshadowing as it was presented, or guess at some of the hints and sub-texts (though I was totally enthralled). But now a few days after seeing the film, I think what Duane has cleverly done is shroud the meanings with an opaque veil of storytelling intricacies and layered meanings that will keep Giallo horror, and folk film aficionados discussing for years.

It is folly to predict cult status for a film, as you can never guess what will capture a niche zeitgeist - but I can promise you this: There will be a subset of film fans who will watch this film again, and again, and again. I certainly will - the soundtrack alone will compel me.

Kudos to the entire team. "All You Need Is Death" is an achievement that won't go unnoticed.

A Dark Song Of Love And Death

[Pairic · 8/10 · 22 April 2024]

All You Need is Death: Searching for rare traditional songs is an art, you can't just be a chancer, you have to understand and appreciate the topic, but there is money to be made, rich collectors will pay for previously unheard variations but will pay a lot more for lost songs, so the trade does attract some mercenary characters. A couple, maybe mid twenties, Anna (Simone Collins) and Aleks (Charlie Maher) travel around bars, houses and towns, looking for old folk songs. They'll even stage mock fights in an attempt to draw out more information, with Anna being the damsel in distress. They get some garbled account of a folk singer who has unknown songs but the trail peters out. They attend a seminar of like minded song hunters, run by Agnes (Catherine Siggins) who informs all participants that she might only be able to set them on the road to finding the rare songs. Impressed by Anna's singing she provides them with the name of the singer. Rita Concannon (Olwen Fouéré), and her hometown, Crossmaglen but claims she is dead. When they finally get to Rita's house they find Agnes already there, speaking to the hard drinking Rita who is very much alive and in a wardrobe. Coming out of the closet she sings a song for Anna which is in an unknown language, containing elements of Old Irish. While Anna doesn't record the song, Agnes clandestinely does so. This seems to unleash powerful malign forces.

Music and song is very important to this film, how old songs are handed down, in this case over millennia from mother to daughter. The main song 1s by Lankum's Ian Lynch and Paul Duane, is really magnificent. The forces summoned up are seen as smudges at times but can forcefully slay their victims, indeed this a gory film with some very disturbing scenes but a lot of the horror is psychological. There are also elements of body horror introduced as the narrative unfolds and we see flashbacks to an ancient time when the events in the song took place. It would probably be a spoiler to reveal much more of the plot except to mention Rita's son, Breezeblock (Nigel O'Neill) a puppeteer and children's entertainer who is as highly-strung as his marionettes as he goes on a murderous rampage across Ireland. Though Olwen Fouéré's role is little more than a cameo it is central to the film as she convincingly portrays a wisewoman/keeper of secrets who is plagued (quite literally) by her demons. Simone Collins is impressive not least in her singing abilities and her change in character half way through the movie. There are some problems with pacing but this is a worthy addition to the Irish Folk Horror Film Canon. Written & Directed by Paul Duane. 8/10.