There's no need to go into detail. The shooting angles in many scenes are terrible. The effects are fine, but the acting and script are truly mediocre. Why would you use a handheld camera when making a film? I think it's a terrible angle. It's unwatchable, and I don't recommend it.

A little too much jumping around in time, and thus also juggling a few too many characters for a plot that's ultimately rather simple - with some genuine sources of horror under the surface.

The only way this movie is watchable is if you kill yourself before you press play.

maaaaaaan, I was SO looking forward to this one. The trailers felt very similar to Emily Rose, which was my yardstick for this film. There are some great tense moments/shots, but outside of those brief *seconds*, this film is a MESS. We’re talking “demon is just a painted actor on all fours”, trying to tackle 5 different themes at once, demonic voices that are just badly pitched down, terrible acting on the father’s part, random deaths/scenes that seemed like they were trying to be more impactful than they were. Such a shame, the initial scene hooked me, but the rest of the film was a slog - a wild sentiment given this is one of the shorter films I’ve seen this year.

Traumatika opens with a haunting past that refuses to stay buried. A cursed artifact, an abused family, and a demon named Volpaazu intertwine across decades, from a child’s horrific home life to a grown-up survivor’s descent back into evil. What begins as an intimate tale of trauma and possession spirals into a chaotic collision of timelines and tones. The first act is gripping: a young boy trapped with his unhinged, possibly possessed mother, trying to survive as reality blurs around them. It’s claustrophobic, emotional, and genuinely frightening. But as the story expands into the aftermath and a talk-show-style reckoning years later, it fragments. The film starts feeling like several different horrors stitched together, part The Exorcist, part Evil Dead Rise, part slasher sequel. When Traumatika focuses on grief and inherited pain, it’s powerful. The performances, especially Rebekah Kennedy’s chilling turn, carry real weight, and the sound design keeps your nerves raw. Yet the constant narrative jumps and tonal pivots undercut the emotional core. You can sense a sharper film hidden beneath the noise, one that might have been genuinely devastating. It’s ambitious, bold, and sometimes brilliant, but too often feels like chaos pretending to be depth. If you liked The Dark and the Wicked, Evil Dead Rise, or When Evil Lurks, you’ll find some memorable horror moments of buried in the mess.