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The Ritual is a 2017 British folk horror film directed by David Bruckner and written by Joe Barton. Based on the 2011 novel of the same name by Adam Nevill, the film stars Rafe Spall, Arsher Ali, Robert James-Collier and Sam Troughton as four friends who take a hiking trip into a Swedish forest and encounter an ancient evil presence.

When they awake, they find themselves restrained in a cellar. An elderly woman enters and inspects Luke's chest wounds, revealing she bears a similar marking. On her way out, she orders two men to take Dom upstairs. A younger woman enters and explains that preparations are being made for a sacrifice. Sometime later, a beaten Dom is returned to the basement. He tells Luke that he is to be sacrificed to the creature, urging him to escape and destroy the village before he too is sacrificed. Desperate to escape, Luke breaks his thumb and partially frees himself from his restraints as Dom is tied up outside by the townsfolk. Amidst the ritual, Dom has a vision of his wife emerging from the forest, only to realise it is the creature as it picks him up and impales him on a nearby tree. Some time later, the young woman returns. When Luke asks about the creature, she explains that it is a jtunn named "Moder," an ancient god-like entity and an offspring of Loki that the cult provides sacrifices to in return for immortality. Luke has been chosen and is to either worship Moder or be sacrificed.

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The film's score was composed by David Bruckner's long-time friend and frequent collaborator, Ben Lovett. Lovett also scored Bruckner's 2007 film The Signal and 2020's The Night House.[4]

The Ritual premiered in September 2017 at the Toronto International Film Festival, where its international distribution rights were sold to Netflix for $4.75 million.[5] The film was theatrically released in the United Kingdom by eOne Films on 13 October 2017 and grossed over $1 million during its run.[1] It was later released to Netflix on 9 February 2018.[6]

But screenwriter Joe Barton, adapting Adam Nevill's source novel, uncharitably distills many of his working class alpha-male characters' motives to pointless yelling and brooding. This is a problem since "The Ritual" is a character-driven piece, and then a scare delivery system after that. And if you want to care about the film's testosterone-fueled heroes, you have to care about grief-stricken bro Luke (Rafe Spall), and his ongoing quest to forgive himself for doing nothing while best friend Rob (Paul Reid) was killed during a liquor store robbery. Unfortunately, none of Nevill's characters want to think or feel anything beyond a point, making "The Ritual" a tedious hang-out session starring a group of stereotypical tough guys who sometimes die horrible deaths.

Barton doesn't just make his reluctant outdoorsmen shut each other down any time a moment of introspection presents itself. He also makes Dom, the only character with a modest emotional range, seem especially whiny and annoying. This is mostly because Dom is the least bro-y of Luke's friends. He has a wife, knows his body well enough to be familiar with its regular stress points, and has glasses. He's sensitive, and in this movie, that's a bad thing. It means that Dom also has a reputation for arguing about everything, and is therefore the only friend who explicitly blames Luke for Rob's death. So, when Dom is confronted by a supernatural life-or-death situation, Dom inevitably behaves selflessly, and tells Luke that saving yourself is the right thing to do when faced with an impossible fight-or-flight response. This one humanizing moment is hilariously meager given how insufferable Dom is throughout the rest of the film.

But then the needlessly drawn-out macho conclusion arrives in time to drive home an especially obnoxious trope: men who bully, fight, and punch their way past their feelings are somehow more fit to survive than anyone who thinks, or feels their way into a problem. "The Ritual" is, ultimately, a lousy movie where man tries to not feel guilty, then encounters his sublimated emotions in the form of a strange wood-land happening, and then must fight his way past those knotty emotions. Bruckner does a fine job with the film's scare scenes simply by emphasizing rustling leaves, flashlight lens flares, and oh yeah, a giant monster that actually looks creepy. But Barton's grating dialogue (actual line: "Your ritual begins tonight"), and thin characterizations, make "The Ritual" the most disappointing kind of bad horror movie: the kind that's too smart to be this dumb.

What a surprisingly effective horror film. I've been mostly up and down with Netflix latest horror acquisitions. 1922, Hush and Gerald's game were all fantastic but with those are brought down by shit like Open House.

The Ritual however is an incredibly effective horror film, in the vein of Blair Witch meets Kill List meets troll hunter, The Ritual is devoid of cheap jump scares, while retaining a sense of creeping dread and constant terror. I really enjoyed this one, what did people think?

Early in the film, however, one of the men slips and hurts his leg to the point where he is in need of a trekking pole to lean on. The group realizes that this puts a major damper on their plans to make it to the lodge in a timely fashion, so they decide to cut through a forest (away from the designated hiking path) in order to make up for their slowed pace. Once in the forest, the mood shifts. The soundtrack cries likes a whining, sharpened violin that reminds me intensely of The Witch (2015). Strange symbols appear deep in the woods carved into tree trunks. An odd sighting of a horned animal stashed high in a tree with its belly slashed, yet left uneaten. The group is spooked and deliberates over going back the way which they came, but they ultimately march on until a heavy rainstorm forces them to seek shelter. They count their blessings once they stumble upon an abandoned house. Once inside, they are unable to dismiss that witchcraft is being dealt within their immediate vicinity.

We recently hosted the theatrical premiere screening of After Dark Films' RITUAL, the feature debut of writer-director Mickey Keating! See his interview with us here: 6 Questions with Mickey Keating. Distributed in the US by Lionsgate on VOD and DVD/HD right after Christmas, this low-budget horror film is a classic example of how to break into the industry as a first-time filmmaker. Indeed, Keating may be one of the youngest directors to have a multinational release at 23 years old!

After the premiere screening at Los Angeles Film School, the panel of filmmakers talked with Shock Till You Drop's Ryan Turek about the filmmaking and deal-making process. See video clip and photos below.

Dancing Before the Moon (2023) observes various rituals performed by the global diaspora in Britain, relating to the appreciation of the land, community values, and sharing space. Combining new footage shot around the UK and rarely-seen archival footage, this film reminds us of our transformative power over our environment, irrespective of race, culture, and socio-economic circumstances.

Burnt Milk (2023) centers around a monologue by Una (voiced by Tamara Lawrance), an isolated Jamaican woman in London around 1985. As she takes a moment of solace to make a common Caribbean dessert, she is flooded with spiritual imagery that takes her home.

Ruby Elmhirst, producer of Burnt Milk, is a British-Jamaican Creative Producer specializing in the design and production of fashion and narrative-led projects rooted in social responsibility and sustainability. Her work ranges from short films to campaign shoots, store concepts, experience, and set design. Ruby is committed to working on projects that are active in creating opportunities for emerging talent. She has worked on projects featured in Nowness, Vogue, Forbes, Wallpaper*, and Refinery29.

The goal of this cinematic was straightforward: to craft a narrative that breathes life into the environment. We decided upon the concept of an extraterrestrial ritual unfolding around the central orb in the room. Below are the frames from the initial blockout, which I largely adhered to throughout the entire process.

In Norse mythology, a Jtunn is most commonly known as a species of giant that are marked with having superior strength and the advantage of massive size to tower over their mythological rivals, and in classical stories they aren't too dissimilar from a troll or ogre. While this description of the creature differs from The Ritual's interpretation, the film's adaptation does align with their mythology as nature spirits who are set apart from the Vanir and sir.

The two films have a similar concept at their base: a group travels into a dangerous wilderness in a foreign country, where they are haunted by mysterious forces based on the folklore of the region. In both films, the main characters carry personal trauma into their journeys that is reflected in the mythology and quite literally embeds itself in the scenery.

After Dom (Sam Troughton) injures his knee, the group decides to try to cut their travel time in half by cutting through a forest instead of walking around it. It is here where things take a turn for the worse. Some of the better haunting visuals of the film take place during this portion, including a mutilated deer handing from a tree and an unsettling wooden effigy in an abandoned cabin. Tensions begin to run high as the group begins to unravel, shaken by a night of inexplicable nightmares and fears that they have lost their way. The group dynamics here really stood out to me as each character reacts differently under duress. Prior to this point I was admittedly having trouble keeping track of who was who. Luke is the only character with any particular depth to him, but each of them have decent characterizing moments that emerge throughout that help to define them. e24fc04721