actions, trapped in a gruesome reality shaped by their decisions and the toxic influences around them.

From its opening sequences, *Bring Them Down* thrusts viewers into a bleak and unsettling abyss.

A vehicle careens recklessly along a twisting road in western Ireland. Within, a woman (Susan Lynch) tells her son Michael (Christopher Abbott, *Wolf Man*, *Sanctuary*), who is at the wheel, that she’s departing from his father. His reply? To speed up dangerously. Writer-director Christopher Andrews maintains focus on Michael’s mother and his girlfriend Caroline (Nora-Jane Noone), capturing their escalating terror as it dawns on them that they are powerless in this dire situation. The suspense intensifies until the unavoidable occurs: Michael collides with another object, resulting in his mother’s death and leaving Caroline with lifelong facial injuries.

### *Bring Them Down* narrates a captivating saga of retribution and toxic masculinity.

The accident marks just the start of *Bring Them Down*’s violent and heartbreaking narrative. Andrews’ debut as a director simmers with tension, progressively escalating into a stark portrayal of rival families, harmful masculinity, and the innocent sheep ensnared in the turmoil.

Years after the calamity, Michael assumes the role of sole caretaker for his sick and resentful father, Ray (Colm Meaney), while also overseeing the family’s established sheep herding business. They share the land with another herding family, led by Gary (Paul Ready), who lives with his daughter Caroline and son Jack (Barry Keoghan, *Saltburn*, *The Banshees of Inisherin*). An age-old animosity exists between Ray and Gary, but when Jack steals two of Michael’s rams and falsely claims they died, the friction escalates into a perilous confrontation. What starts as teasing soon evolves into escalation, propelling Michael on a relentless path of vengeance.

Although *Bring Them Down* could easily have been a conventional revenge thriller, Andrews adopts a more intricate narrative style. He utilizes a *Rashomon*-like approach, alternating viewpoints between Michael and Jack, thereby allowing the audience to understand both facets of the conflict. This method, coupled with the compelling performances from Abbott and Keoghan, transforms the film into an intense psychological clash.

### Christopher Abbott and Barry Keoghan showcase tremendous performances.

Both Abbott and Keoghan are known for their bold, unconventional choices, and *Bring Them Down* presents an ideal platform for them to exhibit their craft.

In the film, Abbott’s Michael is portrayed as a solitary figure, yet the opening crash unveils the simmering fury hidden beneath his placid demeanor. Caroline’s scar serves as a constant reminder of his previous recklessness, complicating any sympathy one might feel for him, despite his ongoing hardships. His commitment to looking after his father—who continuously belittles him—hints at a desperate quest for redemption, though Ray is ironically the man his mother sought to flee from.

Conversely, Keoghan’s Jack emerges as a multifaceted character. From Michael’s viewpoint, he appears as a crafty foe intent on undermining his existence. However, when the narrative shifts to Jack’s perspective, a more complex portrait reveals a young man ensnared in situations beyond his influence, coerced by his father and cousin Lee (Aaron Heffernan, *Brassic*). Jack only comprehends the ramifications of his choices too late. Through his lens, Michael morphs into a silent, ominous figure, compelling the audience to reassess their initial impressions of him. Both actors thrive within these shifting dynamics, unearthing new dimensions to their characters and emphasizing the discomforting parallels between them.

At its essence, *Bring Them Down* delves into the harmful cycle of toxic masculinity. Jack’s yearning for validation from Gary mirrors Michael’s own frantic efforts to gain his father’s approval. Both individuals find themselves ensnared in a generational cycle of aggression and misguided allegiance, molded by paternal expectations.

### The film’s stark portrayal of animal suffering is profoundly disturbing.

The women in *Bring Them Down*—Michael’s mother and Caroline—are far from the sole victims of the men’s choices. Michael’s sheep endure severe anguish, culminating in a horrific scene of animal mutilation that stands as one of the most disquieting moments in contemporary cinema. For those who found the fate of Jenny the donkey in *The Banshees of Inisherin* tragic, *Bring Them Down* ventures into even darker territory.

Andrews doesn’t dwell on excessive gore, yet the terror intensifies through sound. Hannah Peel’s foreboding and percussion-heavy score creates unbearable suspense, while Gert Janssen’s sound design—filled with horrifying squelches and tortured bleating—renders the scene nearly too harrowing to witness. (For those curious, the film’s press materials confirm that Andrews himself created the distressed sheep sounds, which were later incorporated into the film.)

Much like the initial car crash, this sequence embodies an inescapable nightmare. Neither Michael nor Jack can escape the repercussions of their choices, ensnared in a horrifying reality dictated by their actions and the toxic influences surrounding them.