Past Life (2025) - 5/10

This could be a rough ride. We’re dropped into a gruesome Syrian hostage situation with reporter, Jason (Aneurin Bernard) in a pre-titles sequence that will set your teeth on edge and although we’re quickly transported to a future in England with him married to an expecting Claira (Pixie Lott), he’s being asked by his boss to go back. Going back will be a theme here. I say England, but it would be remiss of me not to point out it’s Manchester. This is a small production, lovingly putting its home on screen. Not pretending it’s somewhere else, usually America, this is unashamed and it’s lovely to see. We’re whisked off to Media City, home to many of the regions biggest productions, although I don’t believe it does late night guest shows, but that’s where we meet celebrity hypnotist Timothy Bevan (Jeremy Piven), with Jason being dismissively skeptical in the live audience. Honestly I’m with him, but we wouldn’t have much of a film if Timothy wasn’t successful, which he is when Jason volunteers to come on stage and be hypnotised. With Jason’s past, this is of course a bad idea as he collapses and finds that all manner of troubling regressed memories begin to creep into his waking hours. He seeks help from Bevan, but once again, instead of helping, he uncovers murderous events from a past life. Some of the acting is a hard sell, but the main players are generally good and Piven in particular is very good. As are the hypnotherapy sequences, the edit and general production that punches way above the budget. Jason, the reporter, spots an angle. Ditching Syria (that would likely break the budget), instead with Bevan, they set out to uncover a serial killer. They’re not the only ones digging though. Elliot Reed (Nicolas Farrell) reported on the murders at the time and agrees to share his theories. It ticks along at a good pace with a good mix of science fiction fantasy and true crime aesthetics, but it does feel overly stylised and never really threatens the grit of that opening scene. Its biggest flaw though, is the criminal underuse of Tim McInnerny. Just when the more cynical viewer may be feeling a bit too cozy, it proves it’s cleverer than first thought. It’s not perfect, but there’s some good ideas here and even though we know a twist is coming, its arrival is a wonderful injection of pace and jeopardy. Definitely worth a watch for anyone with an interest in subjects like this or lower budget British film production.

5/10