Cult Killer is a 2024 crime-thriller set in Ireland where a researcher and a killer form an uneasy alliance to uncover the secrets of a sinister cult.
Revenge is a thing that carries a different path for all, but ends up all the same for every individual able to pull it off successfully. Coming from a troubled background, one where alcoholism nearly ended her life, Cassie (Alice Eve) has found purpose after being extended an olive branch years ago by private investigator Mikael Tallini (Antonio Banderas). Years later, she works as a researcher and generally serves as Mikael’s sideline support in the dangerous line of work.
On a fateful day, a murder of someone close to Cassie shakes her to the core. Saddened but steadfast, she works to figure out who and why. Alongside local detective Rory (Paul Reid) and the omnipotent presence of Mikail, their initial investigation sheds light into a mysterious cult based in Ireland. Quickly, Cassie discovers—or rather is discovered—by the killer (Shelley Henning). Pleasantries are exchanged, and Cassie’s desperation to bring justice grows. As her immersion in this case deepens though, she finds that her and the killer; Jamie, aren’t all that different and potentially after the same thing.
Cult Killer. Well, at least the setup is more than competent. Director Jon Keeyes wastes little time funneling his audience to the main plotline, introducing the mentor and his eventual mentee. There are some nice elements, and Ireland as a setting for crime and historical shady cabals and corporations has potential. However, there’s only one real early moment in the feature that makes use of the European backdrop, whereas the rest of the movie either is some combination of drab or flat with only the occasional establishing shot or rustic pub to give a reminder of where we’re at. Flashbacks of Cassie and Mikael’s relationship are interspersed throughout, mainly to give meatier depth to the former whereas the latter never really evolves from parental figure mode. The score and overall sound is missing balance, at times drowning out the dialogue.
The realization hits about a third of the way into Cult Killer that there will be no surprises, and everything will play out as it appears it will—and it largely does. Getting right into the action can be a plus, but when there’s nary any deviation from within a funneled plot that lays itself out clearly with the protagonists, antagonists, and why each is the way they are, the longer time spent with this film the more staid it becomes. And rough dialogue doesn’t help. I suppose the best theme to glean out of it is that the line between using trauma to heal and help others and letting it consume you is a thin one, the crossing of it predicated on what support is there (or lack thereof) to better oneself.
There’s something here; squint and one can see an efficient B-movie. In its current presentation, it’s hard to find in this package. Banderas gets a short stick with his character, his natural charisma not enough to overcome stock characterization. Eve isn’t terrible, but possibly a bit miscast in the role, not quite putting out the analytical and purposeful vibes her Cassie needs. I’d be curious to see in a role swap between Eve and Henning whether the movie works better alongside a few minor character tweaks.
“Dumpuary” is usually in reference to released movies in the theaters that studios want to drop that aren’t the greatest in quality. But Cult Killer is here to remind us that the VOD market can be a part of it too. About the best thing going for this movie is a cool-sounding title.