Bo Mirhosseni’s dystopian horror drama commences with an onscreen text exposition, outlining the transformation of the US into the North American Federation in 2045, a fascist regime enforced by roaming militia invoking the name of God and country. The decision on the distant future setting likely sparked debates among the filmmakers, yet the unsettling portrayal of the US depicted in “History of Evil” doesn’t seem distant from reality. In the film’s opening sequence, a child is transported through a checkpoint in a van, sporting a tracking device on her ankle, scrutinized by armed guards. While undeniably chilling, the standards for dystopian fiction in 2024 have shifted; after all, just five years prior, the US was confining migrant children in freezing, overcrowded cages, sleeping on concrete floors.
The focal point is Daria (Murphee Bloom), daughter of Alegre (Jackie Cruz), a rebellious writer on the lam with her husband Ron (Paul Wesley), who adeptly poses as a devout patriot. Seeking refuge, the family settles in a picturesque colonial-era home – white clapboard, raised porch, the whole aesthetic – yet the house harbors a sinister history, craving to ensnare Ron. Perhaps the gravest threat lurks within the family itself.
The amalgamation of Hunger Games-style world-building with a narrative reminiscent of Stephen King’s works proves intriguing. As Ron engages in fireside discussions over whiskey with a cryptic elder advising him to maintain his masculinity, evoking echoes of “The Shining,” anticipation for a thrilling confrontation builds. Regrettably, the fusion of dystopian thrills and haunted house horror never fully coalesces; the film meanders instead of racing forward, struggling to fully immerse itself in either genre.
