“From Black” offers an unoriginal spin on the standard occult narrative. The film doesn't present much that feels new or distinctive, ultimately delivering a tired crime story morphed into a demon horror movie that’s unlikely to satisfy anyone. It fails to generate genuine scares and takes itself far too seriously; Thomas Marchese’s direction is merely adequate, and Luigi Janssen’s score is so aggressively loud that it becomes comical before the credits even roll—it's jarring enough to feel like a parody of what horror movie music should be. Cora (played by Anna Camp) is struggling with addiction and has yet to process the grief and trauma stemming from her young son Noah’s disappearance. Overwhelmed by remorse, she’s contacted by Abel (John Ales), another member of her support group, who claims he can restore her son if she participates in a specific ceremony. Cora consents to what is clearly destined for trouble, inadvertently summoning a demon. The narrative, which Marchese and Jessub Flower developed together, lacks excitement and feels formulaic. The initial scenes resemble a poorly executed episode of “True Detective,” featuring flashbacks depicting a violent scene and disturbing imagery such as a child’s shoe left alone in a field. Surprisingly, the script contains some depth of character development, though this potential is wasted in favor of spooky rituals and unpleasant creatures. A welcome surprise is that the acting isn't uniformly poor, despite the story’s reliance on predictable tropes. “From Black” comes across as more disappointing than it truly is, likely because it adheres so closely to established conventions. Even someone unfamiliar with horror movies understands that accepting a request to summon something in an attempt to resurrect a lost loved one is invariably a mistake.

Source on TMDB