Review: Killing Ariel (2008) — A Psychological Descent into Demonic Obsession

Director: Fred Calvert, David J. Negron Jr.
Writer: Fred Calvert
Genre: Horror, Psychological Thriller
Runtime: 90 minutes
Language: English
Country: United States
IMDb Rating: 4.3/10
Rotten Tomatoes Audience Score: 21%

Plot: A Demon’s Grip on Reality

Killing Ariel unfolds the story of Rick (Michael Brainard), a seemingly content insurance agent whose life spirals into chaos after a mysterious encounter with a seductive woman named Ariel (Axelle Cummings). Their weekend retreat to a secluded house turns nightmarish as Rick discovers Ariel’s true nature as a she-demon. Despite multiple attempts to end her life, Ariel persistently returns, blurring the lines between reality and hallucination, and dragging Rick into a vortex of madness and murder.​

Cast

Michael Brainard as Rick

Axelle Cummings as Ariel

Joseph Gatt as Incubus

Shana Betz as Nancy

Miguel Nájera as Psychiatrist

Sal Romeo as Nicholas

Stacey Martino as Rick’s Mother

Bradley Whitfield as Rick’s Father

Gary Edward as Jerry

Lisa Franks as Julia

Lauren Mary Kim as Tai Chi Woman

Lindsley Allen as Sally

Steven Lamprinos as Bradley

Suzete Belouin as Karen

Maggie Fine as Secretary

Paul Mackley as Gas Station Attendant​

The ensemble cast delivers performances that align with the film’s eerie and unsettling atmosphere, with Brainard’s portrayal of Rick standing out as he navigates the character’s descent into madness.​

Themes: Obsession, Reality, and the Supernatural

The film delves into themes of obsession, the fragility of reality, and the supernatural. Rick’s repeated attempts to kill Ariel, only for her to return, symbolize an inescapable cycle of guilt and desire. The narrative challenges viewers to question what is real versus what is a manifestation of Rick’s deteriorating psyche.​

Reception: A Mixed Bag

Killing Ariel has elicited varied responses. Some viewers appreciate its psychological depth and the exploration of demonic lore, while others criticize its pacing and narrative coherence. The film holds a 4.3/10 rating on IMDb, reflecting its polarizing nature.​

Critic’s Verdict

Killing Ariel presents an intriguing premise that blends psychological horror with supernatural elements. While it offers moments of genuine suspense and thought-provoking themes, inconsistencies in execution may hinder its overall impact.​

Rating: 5/10

A film with compelling ideas that may appeal to fans of psychological horror, but falls short in execution.

Pair With

In the Mouth of Madness (1994) for its exploration of reality and madness, or Evil Dead II (1987) for its blend of horror and dark humor.

Cultural Footprint

As an independent horror film, Killing Ariel contributes to the genre by attempting to intertwine psychological and supernatural horror. Its exploration of demonic mythology and the human psyche adds a unique, albeit flawed, entry into early 2000s horror cinema.​

Addition

In addition to its exploration of psychological horror, Killing Ariel (2008) delves into the complexities of memory and trauma. The film employs a non-linear narrative structure, incorporating flashbacks and dream sequences that blur the lines between past and present. This approach mirrors the protagonist Rick’s fragmented mental state, as he grapples with the resurfacing of repressed memories and the haunting presence of Ariel. The disjointed timeline challenges viewers to piece together the narrative, reflecting the disorientation experienced by Rick himself.​

Furthermore, the film’s setting plays a crucial role in amplifying the sense of isolation and dread. The secluded house, where much of the story unfolds, becomes a character in its own right—a confined space that traps Rick both physically and psychologically. The cinematography utilizes tight framing and dim lighting to create a claustrophobic atmosphere, emphasizing the inescapability of Rick’s situation. This environment, coupled with the recurring motif of Ariel’s resurrection, reinforces the theme of entrapment and the cyclical nature of trauma.