Referencing Classic Cinema: A Risky Move
Attempting to evoke classic films can be perilous, as it might only serve to underscore one’s own cinematic flaws. In a British film with a modest budget, two characters resembling Gypsies—or perhaps demons—recite a tune from Robert Mitchum in “Night of the Hunter” and sport tattoos of the words “love” and “hate” across their knuckles. This parallel draws attention to the film’s lack of the original’s narrative elegance. Despite its chaotic nature, this horror feature directed by Shani Grewal captivates with its unique, slightly surrealistic charm.
A Tragic Turn and a Vengeful Family
Harper (played by Suzanna Hamilton), who has been blind since a car crash that also took her husband’s life, has lived in solitude for years. This changes when her stepson Taran (Viraj Juneja) discovers upon his return that Harper, along with his sister Megan (Francesca Baker), has taken drastic measures against the drunk driver responsible for the accident. They have confined Sebastian (Michael Maloney), the driver who they believe escaped justice through a plea of insanity, in an upper room of their house, planning their own form of trial. Sebastian, however, exhibits behaviors that suggest his mental instability might be genuine, as he speaks in various languages, some seemingly not of this world.
Chaos Unleashed by an Unexpected Visitor
The plot thickens with the arrival of Sebastian’s daughter, Lilith (Miranda Nolan), who appears unexpectedly on the family’s doorstep, initiating a chaotic sequence of events reminiscent of Ben Wheatley’s early work. The film, primarily shot in a hazy, twilight glow, suggests a crossing of boundaries. This Anglo-Indian family sees its norms and relationships tested, with lines blurred between civility, familial roles, and even between the realms of the living and the spectral, as suggested by the late family patriarch Pal (Madhav Sharma) wandering through an eerie, otherworldly landscape. Grewal, along with cinematographer Jamie Knights, successfully creates a dream-like atmosphere where a tense gathering over tea can suddenly transform into a lively cooking session.
Navigating the Absurd and the Profound
While “Ride the Snake” shows a flair for atmospheric and disorienting visuals, it struggles with clarity in its plot and character motivations, leading to some stiff performances as the actors grapple with the script’s demands. The film particularly stumbles in establishing a coherent depiction of Sebastian’s potentially evil nature, causing Maloney to initially overact before settling into a more unpredictable portrayal, reminiscent of Ben Kingsley’s role in “Sexy Beast”. The real challenge for Grewal’s film lies in balancing the ridiculous with the profound—a balance that, for the most part, leans fortunately towards the latter.
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Fatima Clarke is a seasoned health reporter who bridges medical science with human stories. She writes with compassion, precision, and a drive to inform.
