Review by Jon Donnis
Simeon Halligan’s Past Life leans into a familiar idea and still manages to give it an unsettling edge. A psychological sci fi thriller with horror elements simmering beneath the surface, it follows a traumatised war reporter pulled into something far stranger than his past would suggest. It is a film that works best when it embraces mood and performance, even if it stumbles slightly when trying to tie everything together.
Aneurin Barnard carries much of the weight as Jason Frey, a former international journalist clearly damaged by what he has seen and endured. The script does not shy away from his PTSD or survivor’s guilt, and Barnard plays him with a volatility that feels believable. He is not always easy to like, but that is the point. There is a sense that he is clinging to this bizarre investigation as a way of making sense of himself, and Barnard keeps that tension alive throughout.
Opposite him, Jeremy Piven’s Timothy Bevan walks a careful line. The character is introduced as a renowned hypnotist with a questionable reputation, and Piven plays into that ambiguity well. There is always a flicker of doubt about his intentions, which adds an extra layer to the central dynamic. The two leads work effectively together, grounding a story that could easily drift into something far less convincing.
The film finds its strongest footing during the hypnotic sequences. These moments are where Halligan’s direction becomes more expressive, shifting into something more surreal and visually striking. The dreamlike quality of these scenes gives the film a distinct identity, with a sense of unease that builds quietly rather than relying on obvious shocks. It is here that the horror elements really come into play, contrasting nicely with the more grounded drama unfolding outside of the visions.
That contrast is one of the film’s more interesting strengths. The real world scenes focus on Jason’s deteriorating personal life, particularly his strained relationship with his wife Claira, played by Pixie Lott. She brings a level of emotional clarity to the film, acting as a counterbalance to Jason’s increasingly obsessive behaviour. Their scenes together give the story some needed weight, reminding you of what is at stake beyond the central mystery.
Considering its low budget, Past Life looks and feels more assured than expected. The performances never dip into half-hearted territory, and there is a sense that everyone involved is fully committed to making the material work. The more dramatic moments are handled with care, and they help anchor the more fantastical elements of the plot.
At around ninety minutes, the film moves at a steady pace and does not linger longer than it needs to. However, the final third feels rushed, and the twist is fairly predictable, which takes some of the impact out of the ending.
Even with that shortcoming, Past Life remains engaging. It is a film that raises questions about memory, trauma, and the possibility of manipulation, without ever fully settling on a single answer. That lingering uncertainty works in its favour, giving it a staying power that extends beyond its runtime.
There is a clear sense of ambition here, and while it does not quite reach every mark it aims for, it succeeds where it matters most. Strong central performances, a distinctive visual approach during its dream sequences, and a willingness to explore darker psychological territory all combine to make it worth watching.
Past Life may not be flawless, but it is thoughtful, well performed, and quietly compelling. It stays with you, which is often the best compliment you can give a film like this. 8 out of 10.
Out Now on Digital.
Apple TV - https://apple.co/4mfAwNJ
