Multiverse narratives have become more common in recent years, and the theory of infinite possilbilities all being played out simultaneously makes for some throught-provoking drama. It can also, however, feel like the stakes are lessened somewhat when onscreen death may not be as permanent as it appears. Surely the impact of Infinity War was at least slightly undone by all the events of Endgame? No such issue exists for the McManus brothers‘ (The Block Island Sound) compelling and occasionally wrenching thriller Redux Redux, which sees a grieving, vengeful mother braving endless parallel universes with infinitesimal difference in search of one in which her worst moment has never occurred.

Irene (a terrific Michaela McManus, sister of the filmmakers) has taken revenge on the murderer of her daughter countless times. In possession of a coffin-sized quantum machine that allows her to jump to the same point in other universes, she’s painstakingly tracking down Neville (Jeremy Holm), killing him and moving on, until she finds one where her daughter never died. This grisly grind is taking its toll and Irene is now a shell of a woman. That is until she comes across a timeline in which one girl survives. This is 15-year-old Mia (Stella Marcus), who barges her way into Irene’s plans of vengeance. But Irene doesn’t want Mia to end up as dead inside as she is.

The McManus brothers wisely don’t bog themselves down with the mechanics of their high concept. Irene comes from a timeline where multiverse travel exists, and that’s as much explanation as is given. This works in the film’s favour as it focuses on character and McManus and Marcus make an appealing pair. Irene’s almost Terminator-like monomania sparking against sharp, freshly-forged fury from Mia. Through its central pairing and its clever, almost purgatorial use of the multiverse idea, the filmmakers examine themes of grief and vengeance in a clever, engaging way. It’s incredibly well-paced and maintains a propulsive sense of purpose, when it would have been easy for it to become repetitive.

On the small list of down sides, some of the dialogue is a little utilitarian, moving the narrative on and little else; although it largely avoids exposition dumps through its oblique use of its parallel universes. There is also a diversion caused by a malfunctioning battery that briefly introduces a shady black market in dimension-hopping tech. It expands Redux Redux‘s world-building in a fun way, but adds a little fat on what is otherwise a superbly taut narrative.

Playing in a similar genre sandpit as the likes of Justin Benson and Aaron Moorhead, and literature like The Shining Girls and The 22 Murders of Madison May, Redux Redux is sci-fi horror at its most intelligent and grounded, never being overpowered by its own concept. It’s a gritty and uncompromising tale that sets out its parallel universes as a succession of Sisyphean slogs on the way to a real, cathartic conclusion. It’s a step up in terms of production and filmmaking from their previous film The Block Island Sound, and its success at South by South West, Leeds, and Edinburgh festivals in the last year has been well-earned.

Available on digital platforms from Mon 23 Feb 2026