The Morrigan has a cool and promising plot line that immediately caught my attention, especially as someone who is a huge consumer of Gaelic mythology and folklore. The film follows an archaeologist who specializes in Gaelic legends as she travels with her teenage daughter to a remote region of Ireland. What begins as a research trip quickly turns into a fight for survival when a vengeful Pagan war goddess is unleashed from her ancient tomb. On paper, this setup feels tailor-made for atmospheric horror, blending history, mythology, and isolation into a potentially gripping experience.

Directed by Colum Eastwood, The Morrigan features a cast that should inspire confidence, including Saffron Burrows (Troy, The Bank Job), Toby Stephens (Die Another Day, Black Sails), and James Cosmo (Braveheart, Troy).

Unfortunately, despite this solid lineup, the film struggles to rise above its limitations. Whether it’s the modest budget, uneven editing, or a combination of both, the execution never fully matches the ambition of the concept. The story has all the right ingredients, but the final product feels undercooked, as if the film never quite finds its footing.

That said, the lighting and cinematography do manage to pull some weight. The film leans heavily into shadow, fog, and bleak landscapes, creating a consistently dreadful atmosphere that suits the material well. There are moments where the visual mood genuinely works, capturing the eerie isolation of rural Ireland and hinting at the ancient terror lurking beneath the surface. These elements suggest that the filmmakers understood the tone they were aiming for, even if they couldn’t fully achieve it.

Where the film falters most is in the performances.

None of the actors truly separate themselves from the material, and the acting often feels stiff or underdeveloped. Rather than grounding the supernatural elements with emotional weight, many scenes come across more like a school talent show than a professional feature film. This lack of believable character work makes it difficult to invest in the stakes, and as a result, the horror never hits as hard as it should.

Cineverse has built a strong reputation in recent years for supporting indie horror, often ranking alongside genre powerhouses like the old Dimension Films and, more recently, XYZ Films. Because of that, expectations for The Morrigan are understandably higher. While it’s inevitable that any studio will have a few misses, this unfortunately feels like one of them. The foundation is there, but the execution fails to capitalize on its potential.

Ultimately, The Morrigan is a film that feels like a missed opportunity. With stronger material, tighter editing, and more compelling performances, it could have been a standout entry in the mythological horror subgenre. Instead, it settles for being an intriguing idea that never fully comes to life, leaving viewers with the sense that they’ve seen the outline of a great film rather than the finished product.

In this episode of The Envelope video podcast, Teyana Taylor describes the “slingshot” of success that’s come with “One Battle After Another” and shares her insights as to why fictional revolutionary Perfidia Beverly Hills does what she does in the film.

Kelvin Washington: Hello, everyone, and welcome back to The Envelope. Kelvin Washington, Yvonne Villarreal, we have Mark Olson as well. Hopefully you all have been great since the last time I saw you. Everybody been good?

Mark Olsen: Of course.

Washington: Well, I tell you what, there’s a list of folks who’ve been very good because they’ve been nominated for an Oscar. And obviously, you kind of get the usual suspects, if you will. And then you get some surprises out there. Some folks you go, “Whoa!” So I want to start with you. Either of you can jump in on this. Is there someone that maybe surprised you, a film or something that you were just excited about or maybe someone said, “Them again?” or “That film again?”

Olsen: I think it was very exciting that “Sinners” got the most nominations of any film ever with 16 nominations. It was nominated in every category that it was eligible for. To see a movie that has had commercial success and felt like a cultural moment now being recognized somewhere like the Academy Awards, it’s just exciting to see that all coming together and rolling along for that film, regardless of how it turns out at the show.

Villarreal: I was very excited to see Rose Byrne get acknowledged for “If I Had Legs I’d Kick You.” Because I was worried about that movie losing steam after all the raves it got at Sundance [in 2025] and it’s a smaller movie. I wasn’t sure, “Are people going to remember it?” But I just think she’s so great in that film.

I was sort of surprised that Chase Infiniti didn’t get nominated.

Olsen: Because of the nature of the movie, the whole lead / supporting business was tough, and also it being her first movie, it’s a little harder to get that nomination — especially in lead actress, faced with, say, Kate Hudson, someone who’s been in the business for a long time, is much beloved in the industry, has obviously family historical ties to Hollywood. It’s interesting to see even in the nominations this sort of alchemy of like, “a little of this, a little bit of that” as far as who the the Academy was choosing to recognize.

Washington: You know, I go back to something you said, Mark, when you go to “Sinners.” You mentioned the blockbuster feel of it, getting people’s butts to the theaters, spending money. And also kind of original. We’ve had vampire movies before, but, you know, you get the “Transformer 12”s and “Expendable 32”s. I think a lot of folks were excited to see something original that also had commercial success as well.

Another film that had a bunch of success is “One Battle After Another,” you had a chance to speak with a star from that film, who’s been a star in her own right musically, but now into the film world, with Teyana Taylor.

Olsen: That’s right. It’s so exciting. She’s nominated for best supporting actress. This is a long movie, it’s over two and a half hours long. She more or less exits the picture about 30 minutes in. So I think it says something about the strength of her performance that her character kind of hovers over the rest of that movie. You feel her in the movie, even though she’s actually not on screen. So at the Oscar nominees luncheon recently, we had a chance to sit down with Teyana and she was just so vibrant, so full of energy, really has a great attitude about this moment for herself. I mean, she just recently won a Golden Globe, she hosted “Saturday Night Live.” So much is like happening for her, seemingly right now and she’s just got this real like, taking it all in, very open to it [attitude]. It was really an exciting conversation.

Washington: A culmination of all her hard work. Here is Mark’s conversation with Teyana Taylor.

Mark Olsen: You were just at the Super Bowl. About a week before that, you were a nominee at the Grammys. About a week before that you hosted “Saturday Night Live.” About a week before that you won a Golden Globe. And you’re here today as an Academy Award nominee. I’m sure I’m leaving some things out. I would say what’s the last year been like for you, but I feel like, what’s the last month or two been like for you? It feels like the rocket ship has really taken off.

Teyana Taylor: Yeah, it’s really taken off. I’m so blessed and I’m so honored and I’m filled with so much gratitude to just see so many prayers get answered all at once, where I’m also OK with one at a time. But it’s all happening, you know? And I’m just beyond blessed. And like we were talking about earlier, just how much fun I’m having with it. I’m really having a good time and I’m taking it all in because life is short and life is so fragile. So I just try and take time to enjoy life and enjoy my blessings and enjoy just being alive and well.

Olsen: Has there been a moment that felt the most surreal, like a “what is happening to me right now” moment?

Taylor: Honestly, all of it, because it reminds me of a slingshot, you know what I’m saying? It’s just like, here’s the way, here’s the way, here’s the way, here’s the way, here’s the work, here’s the prayers, here’s the tears, just here, here, here, here, here. And then whoosh — whatever the ball hit, it knocked down everything at once. And that’s what this feels like. It feels really good because literally everything is happening at the same time. So it’s not like only one moment or only two moments that’s making me feel this way. It’s everything. The small wins, the big wins, the medium wins. Every single win and every single blessing is a big deal to me. You know what I’m saying? Even my Ls. I’m not gonna win everything and I’m not gonna get everything and some things are not even meant for me. But even those are blessings. It’s preparation for something that is in store for me and something that is meant for me, because all of this is already written. What’s for you is for you and will be for you, because that’s just what’s written. So I have that mindset.

Olsen: You’ve been doing this since you were a teenager, at first as a choreographer and a dancer, a singer, an actor, you’re going to direct your first feature soon. What keeps you moving through all of this, through these different disciplines and pursuits?

Taylor: My babies. My support system. My village. My community. I love to make my people proud. I love to make my peers proud, my family. I just love to make everybody proud and that’s what keeps me going. Even right now, I’m also in culinary school. So it’s just juggling that, but taking out the little moments to just be quiet and cook and feed my people. So it’s a push. It’s understanding it’s a marathon and that it’s not a sprint. It’s a part of the faith walk. And I think that’s what keeps me going, to wake up and feel so blessed, how could I ever complain? How could I ever be like, “Oh, this is too much”? It is everything I’ve ever asked for. I’m never going to complain about answered prayers. What pushes me is just the reassurance from my support system, the reassurance from Father God himself, the reassurance for my babies. They keep me going. That’s who I do it for. I want to create generational wealth. So them babies are my reason. They are my why.

Olsen: To start asking you about “One Battle After Another,” your character, Perfidia Beverly Hills, she’s inspired a lot of conversation and some controversy. For you, was there something about that character that you felt you hadn’t seen on screen before?

Taylor: Yes. Perfidia is complex and she is also misunderstood. This is a woman who has been in survival mode, who has been fetishized, who has been ignored, not seen. We’re seeing this woman deal with that, where in movies we’re used to seeing us women have to be in capes all day and you see this woman rip this cape away and it’s just unapologetically herself — even in her weakness. And even like you said, with the controversy of her sexuality, I think her sexuality is her armor. It is also her power. She’ll give somebody what they want to get what she wants. And literally in the movie, she’s made selfish decisions. But if you think about her spirit and mentally and emotionally as a woman, it felt good to see a woman actually be selfish and put her[self] first, which we never really get to do because we have to be super this, super this, super this. Super mom, super wife, super woman, super chef; everything is always with a super in front of it. And you see this woman not really caring about what people think. Nobody can quiet her. And in this space of, “OK, you’re too loud, quiet down; you stand too tall, have a seat,” Perfidia is all of the things that they can’t make her do. She’s like, “I’m gonna stand tall, I’m gonna use my voice, I’m gonna use whatever I need to use to get what I want.” And she makes decisions that we don’t agree with, but I think one thing we all can agree on is that she’s a badass. And I can always respect anybody that’s unapologetically themselves.

Another thing that I feel like the controversy is proof of is how much of a non-factor postpartum depression is. Half of the mistakes we see Perfidia make is her dealing with postpartum depression. You see the moment where they say, “Perfida, she’s a runner. She comes from a long line of revolutionaries.” That in itself is a pressure on her to feel like she gotta keep that going. The revolution is instilled in her. It’s a part of her identity. So imagine getting pregnant and you’re feeling like, “Oh my God, does this slow down the revolution? Am I gonna play house with a person that’s ignoring me?” Nobody is really taking the time to think about what’s happening in her mind. We can’t control how a person handles postpartum depression. We hear her, through the door, cry, and then we see Bob put his ear to the door — and instead of him walking in, he walked away. And then what was the result of that? Her walking away. Even if it had to be walking away from Baby Willa, it’s something that she felt like she needed to do and that’s what postpartum make you do sometime. And every mother handles postpartrum depression differently. But I think that’s what I love about her character, because you get to see a harsh reality that I know is hard to take in. But when you watch it a few times you understand exactly what’s happening. … I think that’s what makes the letter at the end so important. Because you hear the pain, you hear the hurt, you hear the regret, you hear the accountability, “Do you have love? Are you happy? Will you try and change the world like we did? We failed, but maybe you will not.”

And that’s another thing. This is a story that Paal Thomas Anderson wanted to tell. It was Perfidia’s job to go and anchor this boat and stay there and create the path for Willa to take on these battles, because her past haunted Willa and Bob. That’s a part of Perfidia being supporting — supporting the next steps of what is for Willa. It’s for Willa to go on and to rise. So you see Perfidia in the beginning of the movie, you see her drive this boat, you see her get to the middle of the sea and you see her anchor herself. And from there, we have to continue the story. So I’m happy that the controversy around her can create dialogue like this, can create healthy dialogue or even uncomfortable dialogue. As long as it’s dialogue and we’re conversing and we are speaking and people are speaking from their point of views, I can absolutely respect that.

Olsen: Is that a conversation you expected to have? When you were making the film, were you and Paul, or you and your co-stars talking about the depiction of Black women in the movie? Or have you been surprised that’s been such a talking point now that the movie’s out in the world?

Taylor: Honestly, I’m not surprised of any of the talking. I think one thing that I said before the movie even dropped and we were doing our press junkets, I was always very boisterous about the fact that this movie, period, not just the character, would definitely shake the table, and it would definitely spark, whether it was great debates or — I love conversation and I like when we can converse. Get it off your chest, tell me how you feel. And I’m open to receive that. So I knew that it would shake the table. I also knew that it needed to be done. Postpartum depression is a big thing for me that I feel like it needs more light. It needs light around it. We need more solutions for it. And like I said, you see this person, this woman in survival mode. You see this woman be ignored. You see this woman be fetishized. And is that not the truth? Is that not what happens, especially in this place of a Black woman feeling the least protected? So I’m really happy that Paul put wings on that to be able to spread and fly with that. And like I said, I know it’s probably tough to take in, but that’s what we got to see because everybody is not wearing capes. Everybody is not handling things the way you may handle things, I may handle the things, the way that person or this person may handle things. So we all just got to give grace and take in the film. It’s a story that’s being told.

Olsen: To me, one of the biggest surprises about the movie is considering how cohesive and complete it feels, to learn how improvisatory and collaborative the process of making the movie was. Were you surprised by that? What was it like for you entering into the process of making this movie with Paul?

Taylor: I was shocked at how collaborative it was. And I loved every bit of it because one thing about it is, again, when you are telling a story that someone wrote — he’s been working on this project for 20 years. This is something that I consider to be his baby. And when you’re trusting me to take on a job like this, I don’t ever wanna walk into any set and feel like I’m doing what I want to do. I just want to be of good support. If you tell me, “Hey, let’s find this together,” I’m gonna find it together. If you say, “This is my vision of what that is and this is how I want it to be,” it’s my job to give you that vision of what you want it be, and then add my little sauce on top of it. But to be fully collaborative, I thought it was really dope. We found Perfidia’s layers and we color-coordinated those layers. And I’m really happy that he let me be a part of that.

Olsen: What do you feel you brought to Perfidia or you were able to add to the character?

Taylor: I was able to add a lot. Paul was very, very collaborative. And again, we found her layers, which was the most important, especially with such a complex character. And you know, I just came from “A Thousand and One.” So I came from being another complex character, but this one was complex to a whole other level, where we almost didn’t understand why we never see Perfidia cry. But you see these little moments, like little details, in her face that’s just like, it’s this strength, but the strength — because I also don’t really love the term “strong Black woman” — it’s this strength that you feel like she has to have because the strength is really survival mode. And again, like I said, you hear her crack down and you hear her vulnerable, and nobody stepped through that door. So when you see a strong Black woman, there is no grace, it’s, “Oh, she’s OK, she fine, she got it all figured out.” And then you hear her vulnerable and you still feel like even at her most vulnerable, she got this, she’s strong. And it’s just like, “Step through the door. Step in early. Step in the first time. Hear me the first time, see me the time, wipe the first tear away. Would she have walked out that door on baby Willa and Bob, had he walked through that door when he heard her cry?

Olsen: I’ve heard you a number of times when you’re talking about Paul, you always call him Paul “Let Him Cook” Thomas Anderson. What does that mean?

Taylor: Let him cook! Listen, because he to me is a master chef. And honestly, I’m very, very big on leadership. I respect the person that is a leader. What makes it so dope is because, with being in culinary school, I originally signed up for culinary school of course to learn the art of culinary, but to just cook, I love to cook and I wanted to learn the art of that. With being enrolled in culinary school, it’s a lot of writing work and a lot of discussion forums and a lot of quizzes and stuff like that. So you’re not only learning to cook, but you’re learning how to run a business. You’re learning how to navigate your staff, front of house, back of house, in the kitchen. You have to understand it’s a whole system in how you handle people in general. In the kitchen they call it like a “servant leader,” where your leader is in the kitchen with you, they’re cooking with you. They’re your mentor, they are your guidance, but they’re cooking with you. They’re not just pointing, “Do this, do that, boom, boom, boom.” And it’s just like his gentle servant leadership is something that I respect so much and something that inspires me as an upcoming movie director on how to handle and navigate my staff.

So it’s like the best of both worlds because I have PTA and then I have culinary school who’s teaching me how to be the best leader. Even in how we handle people, it’s bigger than just the people that work for us or with us. It’s also the people that come into this restaurant. It’s your customers. It’s just the hospitality of it all and the hospitality that he gives, it’s really amazing to see. I’m also a big sports girl. So even in regards to him being our quarterback, you know, he’s not on the side, pointing at what to do. He’s on the field with you. But he has an even bigger job because now he’s trusting that he’s going to throw this ball to you and you’re going to receive that ball. So we’re his receivers, we’re his wide receivers to take it to the touchdown. It’s all about being present. And that’s what I learned in culinary, it’s what I learned in sports, it’s just everything about being a leader as I prepare to lead my village and lead my community. That’s just so important to me. So I always respect people that are in the field with you. I become a warrior for you. You see Paul, you’re running in the battlefield, you look to your left, he’s with you. He’s not on a horse, he’s not on his high horse. He’s in the field with you. Let’s go, we got this! And it just makes you want to you want to go so hard for him. And that’s how I look at it. So I am a student. I am a teammate. I am a soldier. I am a warrior. That’s what I am with people that are great leaders.

Olsen: When you won the Golden Globe, your your speech was so moving and you specifically spoke to your “brown sisters and little brown girls” and said that their light does not need permission to shine. Can you talk more about that? What was it that made you want to say that in that moment specifically talking about this movie?

Taylor: I thought it was a very important moment on a very important stage. I wanted to use my voice and I wanted to use my platform. And in that moment, I had the voice and the platform to say just that. It’s nothing less than that. There’s nothing beyond that. Exactly what I said. We deserve space. What that night showed was that here’s the space. And I appreciated that. I was filled with so much gratitude. That moment hit hard for me because I was that little girl that sat on the floor on a TV watching the other queens on stage accept their awards. Like, “you can do it too, you can do it too.” And I knew that one day when it was my turn, I would tell my little queens, “You can do it too — all the little queens that look like me, you can do it too, you deserve space.” To know that also my daughters were watching as well, it’s everything to me. It’s everything for me to know that they embrace that as well. It’s so important. I’ve gotten so many women come up to me like, “Wow, that speech was just everything.” And that’s what it’s all about. That’s what is all about: to inspire, uplift and remind us that there is space.

Olsen: Before I let you go, you just bring it on red carpets time and time again. And the one thing I like is that you wear these really bold outfits and it never looks like the clothes are wearing you. Do you have tips for people? What do you do for confident personal style?

Taylor: Honestly, follow your heart. Follow your heart. If you see it and you like it, put it together. You might put it together and be like, “That didn’t work the way I [intended].” Practice. Play in clothes. I love to play in clothes — but also will walk in the store and redress a whole mannequin. I’ll also be like, “I like that tie, I think it should be a little bit tighter.” I dream about certain outfits. I dream of certain moments where I’m like, “Oooh. I already know what I feel like I want my Oscar dress to look like. I already know what I want my Golden Globes dress to look like.” It’s always a vision. Or sometimes you might have a base. You might see something and be like, “I like this, but I feel it could use this.” Add it. If you feel like something can use something, add it. Because before you know it, now you done created your own thing. So don’t hesitate. When I was younger, I used to hesitate and be like, “This looked pretty cool, but now I’m not gonna do it.” And then later on, I see somebody try it, and I’m like, “Oh, I should have just…” Always follow your gut and always follow you heart.

GET READY FOR YOUR MIND TO BE BLOWN…

In 2020, the McManus brothers came out with a film called The Block Island Sound that became a bit of an underground cult hit. I found it to be a compelling little mystery, that put this directing duo on my radar. Five years later they have returned with another highly original film, that improves upon that picture in every way and cements these brothers as independent cinema royalty in my book.

Redux Redux follows Irene, a mother who uses a mechanical box to travel to different parallel worlds. Her daughter was murdered by a serial killer years ago and she has made it her mission to travel to every alternate universe, to kill this man in every one. But, when she comes upon a girl who has been kidnapped by the killer; Irene is forced to change this perpetual cycle or else they both will be condemned for life.

IF YOU THOUGHT TRULY “ORIGINAL FILMS” WERE DEAD… THINK AGAIN.

I have spent the last five years reviewing films, covering hidden gems to try and share them with the rest of the world. There’s a lot of really shitty movies out there, especially in this new age of streaming; so when I find a truly special, original film that I know not many people have heard of, all I want to do is sing its praises to anyone who will listen. It doesn’t happen often, maybe a couple of times a year, but when one of those movies comes along… the pure joy I get from it, is what makes this career worth it. And I got that feeling with Redux Redux.

The McManus Brothers have crafted a film that is hitting on all cylinders. And it really proves that there are no limitations in independent cinema, only the ones that are put on by its creators. And this directing duo take their highly ambitious screenplay and with just a shoestring budget, make it look easy. There are some extremely insane ideas in their script, as this is a sci-fi film through and through, but it’s so grounded in this gritty realism that sometimes you forget you’re watching a film about multiverses.

ITS ACTION-PACKED, EXCEPTIONALLY PERFORMED…

I can’t think of a recent film that has put me on the edge of my seat as much as Redux Redux. The action scenes are pulse-pounding, the tension is palpable, and there are some extremely brutal moments that are shockingly violent. My eyes were glued to the screen from beginning to end, I never checked my phone or even looked at the time… I was locked in. I think it also helps that this movie has an air of mystery surrounding it and you just want to learn more. How does this parallel-universe hopping work? Is there a universe where Irene’s daughter wasn’t murdered? Where did the serial killer hide all of the bodies? There’s just so many layers to the plot, there’s no chance that you would want to look away.

I also have to shout-out the acting, which is way above what one normally expects from a film in this genre. Michaela McManus, sister to the writer/directors of the film, is exceptional as Irene. She is a no-nonsense bad-ass that fucks this guy up from universe to universe. But, she’s also a woman grappling with intense grief and depression, completely worn out by this world, no matter which one she is in. She handles all of the complexities to this character with ease. I genuinely cared for Irene, and without that care, this film would not have worked. Indie Darling Jim Cummings also from The Block Island Sound, as well as The Beta Test and The Last Stop in Yuba County, is an integral supporting player here and if he shows up in a film… you know, almost certainly, that it’s going to be a banger.

…AND THOUGHT-PROVOKING.

Lastly, Redux Redux is also surprisingly deep. It tackles the idea of what happens when a person loses their humanity, someone who has become completely numb to violence and closed themselves off to the rest of the world, in a way that is thoroughly thought-provoking. It leaves the audience with the sort of questions that make you ponder where you stand in your humanity. And any movie that can make you pause and take a good hard look on your insides… is a winner in my book.

THIS IS A RECOMMENDATION FOR ANY LOVER OF CINEMA…

The McManus brothers have crafted a mean, brutal, nail-biting action film that is wrapped in a horrific serial killer thriller and then wrapped up again in a heady, profound sci-fi drama. Redux Redux is a bold, original vision that is so confidently made, you know from the get-go you are in the hands of master storytellers. I have no idea how they pulled this movie off, but holy shit, did they do the damn thing. I 100% recommend Redux Redux to any lover of cinema. Period.

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