“A Banquet” starts as an interesting tale of higher-power possession with a strong performance by Jessica Alexander and a nice score, but its last act is quite messy and poorly-structured. It ends up biting off more than it can chew.
A widowed mother, Holly (Sienna Guillory), worries about one of her daughters, Betsey (Jessica Alexander), as she is experiencing a divine or profound “enlightenment”. Betsey now believes that her body is of service to a higher power; she refuses to eat but never loses weight. However, things start to take a stranger turn when she has fewer moments of clarity and more days where she dozes off into a hallucinatory state. Holly must now confront the presence that is possessing her daughter and her own beliefs.
Starting with deliciously-looking dishes that clench your appetite and a feeling that something may go wrong; a boiling essence that a purge of some kind is in the midst. These horror films that start with or center around food or appetite are like that; it is fascinating how a director can tell so much with just a plate of different foods on the table. “A Banquet” starts with a feast and ends with it, for better or worse, mainly for the latter.
It has multiple layers, just like the stages of possession. At first, you get the appearance of the higher power that has dwelled from the skies; then you get the control of the body to the complete takeover, ending in a gut-wrenching leviathan of a personality change. Nevertheless, “A Banquet” never gets into a territory that is horrific, appalling, or shockingly fascinating. It feels like something is missing from its narrative because it doesn’t fulfill its horror or thrilling promises.
Possession has been tackled and managed in many ways since it all dwells with psychology, mental stability, and a sense of importance. Albeit, director Ruth Paxton never quite makes it gel completely. The beginning and middle sections are the most interesting. Its first two acts have a creative narrative as we don’t quite understand why it is all happening or what it may end up in, so we go with the ride. The problem is that as it switches to the third act, the film seems to be possessed as well; it was a host for another movie.
Nonetheless, it comes with some positive facets. Jessica Alexander goes all in and delivers a good performance along the way. She is the main reason to check out this film due to her dedication to the bit. The cinematography has questionable yet most exciting techniques, especially in the second act, where it tries to go for quiet but subtle horror. There is also one disgusting food scene that made me squirm, which is a good thing, and the score pulses all through its entirety.
“A Banquet” is more of a miss than a triumph, but some aspects have leverage. Ruth Paxton has talent that needs polishing with more experience. Still, I’m looking forward to what she has to offer next. Instead of a feast, we get a meal; it isn’t what we asked for nor isn’t all to our liking, but in the end, you still eat it. Less time building the horror that doesn’t latch and more delivering psychological thrills would have worked for the better.
This review of “A Banquet” is written from its screening at the 2021 Toronto International Film Festival (TIFF).
