The Devil All the Time

In the years after World War II, the quiet towns of Ohio and West Virginia pulse with a uneasy calm that feels both timeless and on the brink of unraveling. Dust‑laden roads stretch between churches, diners, and modest homes, while a lingering sense of post‑war fatigue hangs in the air. The landscape is painted in muted colors, yet shadows linger on every hill and in every whispered prayer, hinting at a darkness that refuses to be ignored.

At the heart of this world is Willard Russell, a battle‑scarred veteran whose return home is marked by a fierce devotion to his wife, Charlotte, and later by the weight of loss she leaves behind. Their son, Arvin Russell, grows up under the watchful eye of a stern grandmother, carrying the echoes of his father’s war and his mother’s lingering absence. Across the same rural tapestry, a pair known as Carl and Sandy Henderson drift through the towns, their presence unsettling the otherwise predictable rhythm of daily life. Meanwhile, Roy, a preacher whose sermons blur the line between fervor and fanaticism, navigates a precarious existence alongside his confidant Theodore, each trying to stay one step ahead of an unforgiving world.

The film moves with a slow‑burn tension, balancing stark, sun‑bleached vistas with moments of oppressive claustrophobia. Faith is both a sanctuary and a weapon, violence is hinted at rather than displayed, and every character seems bound by an invisible thread of destiny. As these lives intersect, the audience is left with a lingering sense of anticipation, wondering how the fragile hopes of the post‑war generation will endure—or be consumed—by the encroaching shadows that loom just beyond the horizon.

Last Updated: August 10, 2025 at 01:09