Review: All Must Die

Text © Richard Gary / Indie Horror Films, 2022
Images from the Internet.

All Must Die (aka Utdrikningslaget; Alle må dø)
Directed by Geir Greni
Snurr Films AS; LevelK; Breaking Glass Pictures
83 minutes, 2019 / 2022
https://manymore.no/film/alle-ma-do/

Uff da. No, that is not a comment on the film, but is just about the only Norwegian I know other than some foods (e.g., krumkake, Lefsa, Lutefisk). I have been to Oslo and Bodø in Norway, and this was filmed in the former; it is in Norwegian with subtitles. Thanks to Google translate, I know the original title of the film (the long, single word above) translates to The Bachelorette Party.

The original name makes perfect sense because you will never guess what is the focus of the film, at least at the start: Gina Moen’s Bachelorette Party! But hold on there, I know there are some reading this thinking this is going to be silly, but the thing is that Gina (Vicktoria Winge) is a fan of all things horror. So, guess what the Bachelorette Party is going to be when it comes to a theme? And as things being what they are in the genre world, that is a good thing for the audience, but it certainly will not be for Gina and crew.

Vicktoria Winge

After an ominous start, including a flashback of an argument with her fiancé Even (AndersV Rydning), Gina and her pals are off to a – you got it – secluded farm out with out-buildings (e.g., barn, workhouse) surrounded by woods, miles from anywhere in Heggelia, to celebrate. If you think all Norwegians are pale and blonde, the cast is quite diverse, which is more accurate. Good choice on the director’s part.

Including Gina, there are six women: Camilla (Julia Schacht), who wears a Brooklyn tee and drives the van, Ida (Veslemøy Mørkrid) who is Even’s sister, Stine (Marte Sæteren) in a checkered shirt, Marte (Tinashe Williamson) who is the Maid of Honor, and co-worker Elise (Linni Meister) who is overdressed for the occasion (work clothes), considering the locale of the event.

As is common for this getting-away-to-a-remote-location genre goes, basically the first 20 minutes or so is the car ride, as we get familiar with the half-dozen so the viewer can get an idea of their personalities and some social dynamics. Normally I find these rides boring, but I like the characters, so my interest remained focused. But there are also a bunch of clues in there, on a second viewing of the film (yeah, I watched it twice).

By the end of the first act, I have a guess on the killer, and the reason behind it. I will let you know if I’m right, but not who it is, so no spoilers.

It’s clear these women like each other, even with the occasional behind-the-back talk, which is part of life in the real and reel world. Lots of shenanigans such as a twisted and drunken “treasure hunt” of sorts with Gina that leads to territories beyond the map (sorry, a little General Semantics snuck in there). Things dissolve quickly at this point and follow some directions I was not expecting (again, always a good thing). For me, the oddest thing was the plan to have all of Gina’s ex’s come to the house, as well. That felt icky to me.

That Gina is a horror fan, and there is a similar theme to the get together, this leads us to not be sure at times what is part of the party and what is not for quite a while. What this does is add a dimension to the story that most genre fans watching this might connect to on various levels. I have to say, I was totally impressed with how everything worked out.

In that vein, I was totally wrong on my guess on the killer, but that is because so many red herrings were weaved into the story, and that was part of why I liked this so much. Also, the cast is quite engaging, especially Winge. That being said, I found Schacht and Sæteren also strong in their roles.

The SFX appear to be all practical, and they look great. There is lots of carnage, most seen after the fact, but enjoyable nonetheless. I also enjoyed how Director and co-writers Geir Greni and Robert Næss pace the film, and work in the reveal as nearly the entire third act.

If you have ever been to Norway, or even seen pictures, it should come as no surprise that the scenery is beautiful, sometimes artfully shot by drones (as films now are wont to be if there is any kind of traveling). Just breath-taking. In fact, through the whole film, Torstein Nodland’s cinematography is lovely to watch, even though half the film is shot at night.

Though I had some issues, which seem to have stuck with me, I found this to be enormous fun that takes some standard motifs and throws it on its ear a bit. At the end, as the credits rolled, I found myself smiling with satisfaction. I hope there is a sequel.

All Must Die will be available on Digital, VOD platforms, including iTunes, Amazon Prime Video, Google Play, Xbox, and Vudu. In the US, there will be a dubbed version.

IMBD listing HERE