Atanaria
Lee Daniels has made a name for himself as a filmmaker unafraid to confront difficult topics like addiction, poverty, and the harsh realities of life. His Academy Award-winning Precious (2009) remains a high watermark in his career, capturing raw emotions and unflinching character studies. Following that success, Daniels continued to explore gritty, human stories in films like The Paperboy and The United States vs. Billie Holiday. The Deliverance promised a similar exploration of complex, flawed characters, set against the backdrop of familial strife, addiction, and the supernatural. Unfortunately, while the film does offer strong performances and an intriguing premise, it ultimately falls short of expectations, devolving into a muddled, uneven genre exercise that fails to deliver the emotional punch it was capable of.
A Promising Start: Family Drama at Its Core
At its heart, The Deliverance begins as a character-driven domestic drama, with a strong emphasis on the complexities of family life and the emotional baggage carried by its central characters. Ebony (Andra Day), a single mother struggling with alcoholism, has a heavy burden to bear. Not only is she raising three children—teenagers Nate (Caleb McLaughlin) and Shante (Demi Singleton), and her younger son Andre (Anthony B. Jenkins)—but she is also caring for her terminally ill, domineering mother, Alberta (Glenn Close). Day’s performance as Ebony is electric, capturing the volatility of a woman constantly on the brink, battling her demons while trying to maintain some semblance of control in her fractured life.
Ebony’s personal and emotional struggles make her a fascinating character to follow, and the family dynamics in the film are charged with palpable tension. Close’s portrayal of Alberta, a cancer-ridden matriarch who seems determined to make life as difficult as possible for everyone around her, is both cruel and captivating. The difficult relationship between mother and daughter, compounded by Alberta’s manipulative behavior and Ebony’s ongoing addiction, is the beating heart of the film. This part of the story—Ebony’s battle to stay sober while juggling the chaos of her family—is compelling and offers an emotionally rich foundation for the film.
Supporting performances are also noteworthy. Mo’Nique, in a rare dramatic role, plays a Child Protective Services worker who is called in to investigate potential abuse and neglect. Her character brings a sense of empathy and genuine concern to the situation, providing a counterbalance to the volatile and chaotic environment that Ebony and her family are experiencing. Aunjanue Ellis-Taylor plays an apostle (though, notably, not an exorcist) who may hold the key to the family’s salvation, offering a sense of hope amid the turmoil.
Where It Goes Wrong: The Shift to Horror
The film’s promising domestic drama, however, takes a sharp and ultimately detrimental turn as it pivots into supernatural horror. Based loosely on the real-life case of Latoya Ammons, a woman who reportedly experienced disturbing paranormal events in a house she rented in Gary, Indiana, The Deliverance begins to introduce eerie occurrences as Ebony’s children begin exhibiting strange behaviors. At first, the idea that these behaviors might be linked to Ebony’s alcoholism—creating a tension between what is real and what might be imagined—adds a layer of suspense. But as the story shifts toward the supernatural, the film loses the grounded intensity that made it so engaging in the early stages.
Once the demonic possession narrative is introduced, The Deliverance stumbles into familiar horror territory, relying heavily on overused genre tropes: children crawling up walls, grotesque body contortions, and vulgar, demonic invective spewing from young mouths. These elements quickly become predictable and tired, offering little new to the genre. The horror sequences, which should have heightened the film’s tension, instead feel like an obligatory shift into familiar territory. In fact, the more the film embraces these supernatural tropes, the more it detracts from the human story that had been so compelling up until that point.
Daniels, a filmmaker known for his bold choices and willingness to embrace melodrama, struggles to balance the two tonal shifts. The visceral intensity that was initially so gripping dissipates as the film becomes more focused on the exorcism and demonic manifestations. The supernatural elements lack the emotional weight necessary to elevate them beyond standard horror fare, and the visual effects, which should amplify the fear factor, feel cheap and underwhelming. What had once been a film with a real emotional center becomes increasingly superficial as it leans on horror clichés.
A Lost Opportunity: Where the Film Falters
What is perhaps most disappointing about The Deliverance is that, when it sticks to the family drama, it offers something fresh and thought-provoking. The exploration of Ebony’s internal struggles, her attempts to break free from addiction, and the emotional toll of caring for her toxic mother create a compelling narrative. But the supernatural twist feels forced and unnecessary, taking away from the more meaningful aspects of the story. The tonal shift ultimately dilutes the film’s impact, making it hard for viewers to remain invested in the characters as they transition from grounded emotional turmoil to supernatural spectacle.
The film’s ending is equally unsatisfying. As it nears its conclusion, there’s a rushed, awkward attempt to provide some kind of resolution, but it feels out of place after everything that has come before. Instead of the catharsis one might expect from a film that delves into such heavy topics, the ending feels cheap, as though the filmmakers were trying to wrap things up in a way that would leave the audience feeling uplifted, even though the entire narrative arc had been overshadowed by the film’s clumsy genre shift.
A Film That Could Have Been Much More
In the end, The Deliverance is a missed opportunity. Lee Daniels’ ability to tackle difficult, complex characters and relationships is undeniable, but the decision to tack on a supernatural possession subplot detracts from the emotional richness of the story. While the performances, especially by Day and Close, are strong, the film’s tonal dissonance and reliance on familiar horror clichés prevent it from living up to its potential. What could have been a profound exploration of trauma, addiction, and familial loyalty instead becomes bogged down in genre conventions that fail to resonate. Sadly, The Deliverance is a frustrating reminder of what could have been—a film that starts strong but ultimately loses its way.
