In Knockemstiff, Ohio and its neighboring backwoods, sinister characters converge around young Arvin Russell as he fights the evil forces that threaten him and his family.
- Arvin Russell: Tom Holland
- Willard Russell: Bill Skarsgård
- Sandy Henderson: Riley Keough
- Carl Henderson: Jason Clarke
- Deputy Lee Bodecker: Sebastian Stan
- Charlotte Russell: Haley Bennett
- Reverend Preston Teagardin: Robert Pattinson
- Roy Laferty: Harry Melling
- Lenora Laferty: Eliza Scanlen
- Helen Hatton: Mia Wasikowska
- Leroy Brown: Douglas Hodge
- Emma: Kristin Griffith
- Theodore: Pokey LaFarge
- Narrator (voice): Donald Ray Pollock
- Arvin At 9: Michael Banks Repeta
- Baby Arvin: Emilio Subercaseaux Campos
- Earskell: David Atkinson
- Poacher #1: Matthew Vaughn
- Poacher #2: Billy Joe Bradshaw
- BoBo McDaniels: Gregory Kelly
- Henry Dunlap: David Maldonado
- Hank: Mark Jeffrey Miller
- Marine #1: Ryan Anthony Williams
- Bus Driver: Wes Robinson
- Wooden Spoon Manager: Todd Barnett
- Reverend Albert Sykes: Michael Harding
- Cynthia Teagardin: Lucy Faust
- Pamela Sue Reaster: Abby Glover
- Church Member #1: Kelly Lind
- Church Member #2: Cotton Yancey
- Priest: Adam Fristoe
- Florence: Morganna Bridgers
- Social Worker: Karson Kern
- Orville Buckman: Ivan Hoey Jr.
- Gene Dinwoodie: Zack Shires
- Tommy Matson: Drew Starkey
- Butcher: Caleb J. Thaggard
- Lenora At 7: Ever Eloise Landrum
- Susie Cox: Given Sharp
- Sheriff Thompson: Cory Scott Allen
- Juanita: Emma Coulter
- Tecumseh Bouncer: Cody Jones
- White Cow Waitress: Madelyn Wall
- Gary Matthew Bryson: Jason Collett
- Deputy Howser: Eric Mendenhall
- Hippie: Teddy Cole
- Doctor: Michael H. Cole
- Jim Lacey: Cort Chandler
- Jasper Taps: Bruce Cooper
- Dispatcher: Daniel James Vaughn
- Skinned Soldier: Edward Hall
- Evangelist: Jeff McCarthy
- AM Radio DJ: Santino Fontana
- Newscaster: John Rue
- Calvin Claytor (uncredited): Phillip DeVona
- Arresting Police Officer (uncredited): Kevin Waterman
- Beth Ann Reaster (uncredited): Sarah Hamff
- Alma Reaster (uncredited): Shannon Frye
- Meat Processor (uncredited): James H. Keating
- Teacher (uncredited): Scott Rapp
- Diner Patron (uncredited): Lawrence Hinkle
- Shop Patron (uncredited): Kyle Sawyer
- 1965 High School Student (uncredited): Emily Towles
- 1966 High School Student (uncredited): Meagan Bown
- Necking Guy (uncredited): Ben Bailey
- 1945 Diner Patron (uncredited): Beth Scott
- 1945 Diner Patron / Church Goer (uncredited): Kacey Hayes
- Church Goer (uncredited): Myles Phillips
- Necking Girl (uncredited): Rebecca Douglas
- Church Goer (uncredited): Leslie Sides
- 1965 Cheerleader (uncredited): Katie Flaherty
- 1965 Vietnam Soldier (uncredited): Matt Powell
- Diner Patron / Church Goer (uncredited): Morgan Monroe
- Bull Pen Patron (uncredited): Jeff McKinney
- Local Pool Player (uncredited): Jason Charles Hill
- Cody Hamilton: Andrew Young
- Producer: Jake Gyllenhaal
- Casting: Douglas Aibel
- Makeup Department Head: Leo Corey Castellano
- Producer: Randall Poster
- Director: Antonio Campos
- VFX Supervisor: Richard Baker
- ADR Mixer: Greg Crawford
- ADR Mixer: Mark DeSimone
- Director of Photography: Lol Crawley
- Stunt Coordinator: Gary Ray Stearns
- Costume Design: Emma Potter
- Production Design: Craig Lathrop
- Producer: Riva Marker
- Original Music Composer: Saunder Jurriaans
- Art Direction: James A. Gelarden
- Executive Producer: Jared Ian Goldman
- Executive Producer: Annie Marter
- Key Makeup Artist: Ann-Maree Hurley
- Editor: Sofía Subercaseaux
- Original Music Composer: Danny Bensi
- Supervising Sound Editor: Ruy García
- Stunt Driver: Kevin Waterman
- Second Assistant Director: Derek Franzese
- Production Supervisor: Charlie Dibe
- Hair Department Head: Gloria Pasqua Casny
- Unit Production Manager: Marc A. Hammer
- Unit Publicist: Cid Swank
- Dialogue Editor: Branka Mrkic
- Script Supervisor: T.J. Larson
- Stunts: Marcelle Coletti
- Stunts: Crystal Hooks
- First Assistant Director: Brian Bettwy
- Extras Casting: Ron Goleman
- Armorer: Eric Pettway
- ADR Recordist: Kristin Catuogno
- Producer: Max Born
- Boom Operator: Allen Lee Williams III
- ADR Mixer: Aidan Dykes
- Stunts: Jason Charles Hill
- Boom Operator: Matt Derber
- Art Department Coordinator: Prissy Lee
- Makeup Artist: Jennifer Kimlin
- Stunts: Cody Banta
- Location Manager: Kyle Photo Bucher
- Property Master: A. Patrick Storey
- Novel: Donald Ray Pollock
- Visual Effects Art Director: Sebastian Romero
- Second Unit Director: Matthew McLoota
- Production Coordinator: Patty Harrigan
- Special Effects Technician: Greg McDougall
- Set Designer: Ryan Goertz
- Visual Effects Supervisor: Djuna Wahlrab
- Key Hair Stylist: Meghan Heaney
- Stunts: Leah Hudspeth
- Sound Effects Editor: Isaac Derfel
- Set Designer: Willie Blanchard
- Screenplay: Paulo Campos
- Special Effects Supervisor: Ricky Pratt
- Production Assistant: Monica Nabers
- Sound Mixer: Jake Slaney
- Art Designer: Alex Michetti
- Makeup Artist: Somica Spratley
- Makeup Artist: Joy Travis
- Second Assistant Director: David Rimer
- ADR Mixer: Shacora Mitchell
- Stunt Coordinator: Don Lee
- Stunts: Ethan Melisano
- Stunts: Matt Elkins
- Set Dresser: Jason Smith
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Netflix has been able to deliver films with all-star casts pretty regularly. Whether people like the movie or not, that’s a whole other subject, but as a convincing argument to make people want to watch a film, this type of casting is perfect. Almost every actor in The Devil All The Time is a fan-favorite due to their presence in cinematic universes, iconic sagas, or Oscar-winning flicks, so it’s no surprise if this aspect alone gets audiences to sit in their couches for a movie with an almost two-hour-and-a-half runtime. This is my first time watching an Antonio Campos’ film, and my expectations were moderately high, having in mind the synopsis and the genre itself.
I didn’t know what the movie was really about since the synopsis doesn’t really shine a light on what the main narrative truly addresses. I only watch the first official trailer *after* I watch the film (so I know what I can write in my reviews), and to be honest, it’s a bit misleading when it comes to the time certain actors are actually on-screen (Holland only shows up after forty-five minutes, for example). So, for the first hour-and-a-half, I found myself struggling to understand where the story was going. There are more than a handful of relevant characters and storylines, being this my main issue with the flick, but I’ll get there.
I’ll start with the cast and their characters. The former group is impeccable, as expected. Tom Holland is undoubtedly the biggest surprise by delivering a part of him that no one had seen so far. Arvin’s personality is shaped based on his traumatic, tragic, violent childhood. Transitioning from the friendly neighborhood Spider-Man to such a haunted character is not an easy task, but Holland finds a way of dealing with the emotionally overwhelming, dark path that Arvin walks. However, this is a long movie where every character has an important role to play, even those who barely impact the story until the last few minutes.
Bill Skarsgård plays Holland’s father, seamlessly incorporating a man whose blind faith in religion sets not only a horrible chain of events, but it also establishes the overall theme for the film. Riley Keough and Jason Clarke play a weird couple with a disturbing modus operandi, but the former is genuinely impressive. She’s becoming quite an interesting actress by picking unique roles in unconventional movies. Everyone else is great, Robert Pattinson, Eliza Scanlen, Sebastian Stan, you name it, but Holland, Skarsgård, and Keough are my absolute standouts, as well as their characters. They’re definitely most developed across the runtime than the others, which takes me to one of my negatives.
With so many characters, the balance between the numerous storylines fails to be consistent enough to keep me engaged throughout the entire runtime. Antonio and Paulo Campos offer every character a good chunk of time, giving the viewer opportunity to understand the motivations behind said characters and connect with their story. Excellent storytelling method, no doubt about it. However, by the end of the film, some characters have close to zero impact on the narrative in retrospect. Contrasting with my standouts, a few characters feel one-dimensional, used merely either as a plot device to make the story go forward or as an object for gratuitous, gory, bloody killing.
That last aspect might be a no-go for tons of viewers. There are dozens of sequences where a character is brutally shot or beat close to death, so you have my warning. It can go from entertaining to excessively gruesome in a matter of seconds. Nevertheless, the thing I love the most about The Devil All The Time will be the exact same many viewers will definitely hate: its take on religion. Similarly to Darren Aronofsky’s mother!, this is a movie that doesn’t shy away from depicting how blind faith in hardcore religiousness can be dark, somber, sinful, and take people through the most terrible of paths. It’s the overall theme that connects every storyline.
Throughout the film, almost every character’s decision is made based on their religious beliefs in some shape or form. If they believe praying is the solution to cancer, they’ll pray for days in a row and make sacrifices. If they believe God is giving them supernatural powers, they’ll do everything to test his will. If they believe God is telling them to make the most illogical decisions, perform inhuman actions, and sin in the most awful way possible, they’ll do it in the blink of an eye. This religious manipulation is depicted in such a realistic manner that it transforms The Devil All The Time into a pretty tricky viewing. For me, it felt so authentic that I can easily connect it to the state of the real world.
From the moment I realized this underlying theme, the second half of the movie became much more interesting. Character arcs start to intertwine, previous questions being to receive their respective answers, and everything falls into place in the last thirty to forty-five minutes. However, the runtime still feels way too long, and even though Antonio and Paulo Campos do a remarkable job by coherently joining the several storylines, some of these simply don’t add anything to the narrative or to the protagonist’s arc. Technically impressive across the board, standouts being Lol Crawley’s lingering cinematography and the sweet score from Danny Bensi and Saunder Jurriaans.
The Devil All The Time is destined to be incredibly divisive. Antonio Campos and Paulo Campos conjured up a somber, dark, extremely violent screenplay, packed with numerous storylines and an underlying theme that’s going to cause some controversy. With such a stellar cast, it’s impossible not to have outstanding performances. The entire cast is impeccable, but Tom Holland (the absolute standout), Riley Keough, and Bill Skarsgård deserve the shoutout due to their genuinely impressive displays. However, the high number of characters and their respective arcs unnecessarily overextend the runtime. Too much time is given to characters who, in retrospect, barely have an impact in the narrative or in the protagonist. Some are used as mere plot devices or kill targets for the sake of entertainment. Nevertheless, the narrative’s focus on religion is bold and audacious, showing how blind faith can negatively influence people’s lives, taking them and others through the most painful paths. Depending on each person’s view on religion, on how open the mind can be and the sensibility to bloody violence, I leave my warning that this film might not be for everyone. But, if it is for you, it will be hard to forget.
- Wuchak: _**Drearily fighting… the devil all the time**_
In backwood towns of West Virginia and southern Ohio during the mid-60s several characters converge around a disillusioned orphan (Tom Holland) devoted to protecting those he loves.
“The Devil All the Time” (2020) is a slow-burn Southern Gothic psychological drama with crime thrills in the mold of “Undertow” (2004) mixed with the dismal rural tone of, say, “Winter’s Bone” (2010), “Mud” (2012), “Joe” (2013) and “1922” (2017).
The bleak story emphasizes the deep mysteries of life, like man’s brutality to fellow man, premature death, unanswered prayer, religious misbelief/error, justification of sin, corrupt authority figures, the downward spiral of a criminal lifestyle, divine justice (whether you perceive it or not), hope and, maybe, redemption.
Some complain that it’s ultimately pointless, but it’s not. It may be meandering and ambiguous, but it’s not pointless. You just have to be braced for a slow drama, degenerate characters, lots o’ narration (by the author of the book), time jumps, convoluted storytelling and a muted emotional payoff. Another thing to consider is that the story doesn’t become compelling until the last 50-55 minutes.
The movie doesn’t ridicule people who believe in Christianity, as some have criticized, but rather realistically shows how certain individuals with mental issues can misinterpret the Scriptures or the Spirit’s leading, as well as use their position to serve their carnal interests rather than serve people.
There are weird and disturbing aspects that are gut-wrenching or disgusting, but the author based these things on real-life cases.
It’s a quality production with convincing acting/costuming/sets/locations, but the snaky downbeat story isn’t for everyone.
The film runs 2 hours, 16 minutes and was shot in Alabama (Anniston, Montevallo, Birmingham, Oak Mountain State Park and several other points in the area).
- Wiccaburr: It’s a prayer log…but it don’t work too good.
First off this movie have good moments and dark moments, be ready for this roller coaster cause it’ll be a ride.
I love how they have the author of the book being the narrator for this movie.
Saints becomes sinners and vice versa without even knowing it.
Between the performance of the cast and how this whole story unfolds, it is a journey of evil, faith, religion, and power among all who are living in this rural area.
I must say this is worth watching but man, it is soul wrecking darkness.
Just be prepare for this watch.
Pairing this with soul wrecking tough watches like The Nightingale (2018) or GWEN (2018) comes to mind.