(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A mother and her son hideout in an abandoned farm, on the run from an abusive husband. Taking place during the 2019 bushfires, as emergency service struggle to track down the missing family, Dai begins to uncover not all is as it seems.”
There are a great many pictures which have already explored what a mother will do for the love of her son; and – though I’m not complaining – audiences can now add Cruel Hands (2026) to that catalogue. A conventional melodrama with very modest psychological Horror overtones, the film from writer/director Al Kalyk functions more so as a mainstream melodrama, one wherein a few scary set pieces do add a bit of spice to a mostly predictable yarn about one woman and her son on the run from an abusive spouse. While perhaps you haven’t seen one against the backdrop of forest fires before, this one still is far too predictable to whip up a little more smoke from the flames.
Sadly, we’re given very little background for why Jason (played by Josh McConville, looking very much like an angry, young Phil Collins) woke up and chose violence across every facet of his life. Clearly, the script kinda/sorta hints that his anger issues might be genetic – his fleeing son Dai (Diesel La Torraca) has begun demonstrating some Conduct Disorder, the kind that would have him privately torturing bugs up to the point of their deaths – but that’s the lion’s share of the real substance given to define his person. After spending the bulk of her spousal relationship apparently locked in a room, Maria (Mavournee Hazel) seizes her child and leaves, knowing full well that they’ll need to essentially disappear into the ether once the roads open up from the encroaching brushfires.
Narratively, Kaylk could’ve done a bit more to use the fires as a rather obvious (if not lazy) metaphor for the disaster closing in around mother and son. While they’re mentioned a few times and hinted at once (a wonderful sequence of ash floating through the air, suggesting that danger is never far away), the flames might have been showcased more consistently throughout in order substantiate just how close they were. Given the casual treatment of them until the last reel, I honestly questioned whether or not they would make their big screen entrance. Once they do – in the same fatal moment that Jason stumbles onto his wife and son – they make for a great addition. Too bad they couldn’t have had a bit more screen presence earlier on to qualify just how treacherous the situation had grown.
Furthermore, there are a few vignettes delivered as either dream memories or simple story flashbacks. These bits do highlight some of what’s come before as well as accentuate the growing tension (will they be found, will they escape the flames, etc.). Generally, these are nice additions, but one big problem is that they’re dropped rather unceremoniously into the footage and not framed in any way as to let you know that you’re no longer in present time. Sadly, these wind up being a bit confusing when you experience them ‘as is,’ and Kalyk would’ve been better served to more strongly suggest these are moments from the past. Even a change of wardrobe would’ve helped, but I guess that just wasn’t in the budget, either.
Otherwise, Cruel Hands feels much more like a bloated television chiller than it does any big screen effort. Kalyk’s camerawork only occasionally offers up some visions compelling enough to support the whole psychological affair. La Torraca does an affable job given that he’s mostly by himself in scenes; and Hazel could’ve used a bit more mania to highlight the fear her son says that she’s feeling. McConville plays an admirable thug/husband, but even he never delivers anything audiences likely haven’t seen before.
Cruel Hands (2026) was produced by Belmore Pictures and ACM Films. A quick search of Google.com assures me that the film can be purchased or rented on such digital platforms as Prime Video, Fandango At Home, or Apple TV. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are mostly solid: there are a few sequences meant to evoke a greater sense of intimacy wherein the sound levels were a bit too low (for my tastes), so be prepared to adjust the volume if capturing every word is important. Lastly, if you’re looking for special features? As I viewed this one via streaming, there were no special features to consider.
Alas … only Mildly Recommended.
My chief interest in Cruel Hands (2026) relied on the film being advertised as a Horror feature, but nothing could be further from the truth. Even the picture’s stalking moments are fairly tame, making me wonder if perhaps some of Maria’s angst might’ve been the product of her own perception – not imagination – and making it less instrumental. When the villain never appears villainous until the midpoint (or so), then perhaps a bit more could’ve been put onscreen, especially when the chief problem – a really gnarly black eye – went mostly unexplained (did I miss it?). Fortunately, this one is little more than an hour’s running time, so perhaps it’s best to be thankful for small favors.
In the interest of fairness, I’m pleased to disclose that the fine folks at Belmore Pictures provided me with complimentary streaming access to Cruel Hands by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
From the film’s IMDB.com page citation:
“A mother and her son hideout in an abandoned farm, on the run from an abusive husband. Taking place during the 2019 bushfires, as emergency service struggle to track down the missing family, Dai begins to uncover not all is as it seems.”
There are a great many pictures which have already explored what a mother will do for the love of her son; and – though I’m not complaining – audiences can now add Cruel Hands (2026) to that catalogue. A conventional melodrama with very modest psychological Horror overtones, the film from writer/director Al Kalyk functions more so as a mainstream melodrama, one wherein a few scary set pieces do add a bit of spice to a mostly predictable yarn about one woman and her son on the run from an abusive spouse. While perhaps you haven’t seen one against the backdrop of forest fires before, this one still is far too predictable to whip up a little more smoke from the flames.
Sadly, we’re given very little background for why Jason (played by Josh McConville, looking very much like an angry, young Phil Collins) woke up and chose violence across every facet of his life. Clearly, the script kinda/sorta hints that his anger issues might be genetic – his fleeing son Dai (Diesel La Torraca) has begun demonstrating some Conduct Disorder, the kind that would have him privately torturing bugs up to the point of their deaths – but that’s the lion’s share of the real substance given to define his person. After spending the bulk of her spousal relationship apparently locked in a room, Maria (Mavournee Hazel) seizes her child and leaves, knowing full well that they’ll need to essentially disappear into the ether once the roads open up from the encroaching brushfires.
Narratively, Kaylk could’ve done a bit more to use the fires as a rather obvious (if not lazy) metaphor for the disaster closing in around mother and son. While they’re mentioned a few times and hinted at once (a wonderful sequence of ash floating through the air, suggesting that danger is never far away), the flames might have been showcased more consistently throughout in order substantiate just how close they were. Given the casual treatment of them until the last reel, I honestly questioned whether or not they would make their big screen entrance. Once they do – in the same fatal moment that Jason stumbles onto his wife and son – they make for a great addition. Too bad they couldn’t have had a bit more screen presence earlier on to qualify just how treacherous the situation had grown.
Furthermore, there are a few vignettes delivered as either dream memories or simple story flashbacks. These bits do highlight some of what’s come before as well as accentuate the growing tension (will they be found, will they escape the flames, etc.). Generally, these are nice additions, but one big problem is that they’re dropped rather unceremoniously into the footage and not framed in any way as to let you know that you’re no longer in present time. Sadly, these wind up being a bit confusing when you experience them ‘as is,’ and Kalyk would’ve been better served to more strongly suggest these are moments from the past. Even a change of wardrobe would’ve helped, but I guess that just wasn’t in the budget, either.
Otherwise, Cruel Hands feels much more like a bloated television chiller than it does any big screen effort. Kalyk’s camerawork only occasionally offers up some visions compelling enough to support the whole psychological affair. La Torraca does an affable job given that he’s mostly by himself in scenes; and Hazel could’ve used a bit more mania to highlight the fear her son says that she’s feeling. McConville plays an admirable thug/husband, but even he never delivers anything audiences likely haven’t seen before.
Cruel Hands (2026) was produced by Belmore Pictures and ACM Films. A quick search of Google.com assures me that the film can be purchased or rented on such digital platforms as Prime Video, Fandango At Home, or Apple TV. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are mostly solid: there are a few sequences meant to evoke a greater sense of intimacy wherein the sound levels were a bit too low (for my tastes), so be prepared to adjust the volume if capturing every word is important. Lastly, if you’re looking for special features? As I viewed this one via streaming, there were no special features to consider.
Alas … only Mildly Recommended.
My chief interest in Cruel Hands (2026) relied on the film being advertised as a Horror feature, but nothing could be further from the truth. Even the picture’s stalking moments are fairly tame, making me wonder if perhaps some of Maria’s angst might’ve been the product of her own perception – not imagination – and making it less instrumental. When the villain never appears villainous until the midpoint (or so), then perhaps a bit more could’ve been put onscreen, especially when the chief problem – a really gnarly black eye – went mostly unexplained (did I miss it?). Fortunately, this one is little more than an hour’s running time, so perhaps it’s best to be thankful for small favors.
In the interest of fairness, I’m pleased to disclose that the fine folks at Belmore Pictures provided me with complimentary streaming access to Cruel Hands by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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