Faith review: Doherty and McAvoy power

Erin Doherty and James McAvoy deliver intense performances in 'Faith,' a startling and unsettling mystery drama from British writer-director Paul Andrew Williams. The Guardian's review describes the film as an eerie tale powered by ferocious commitment from its leads.

The story is set in a downbeat British town, likely in the London estuary, where a candy factory provides local employment. Mina, played by Erin Doherty, is a smart and capable single mother to her nine-year-old son, Jamie. She works on the factory production line and is well-liked by her colleagues. Her life is content, centered on her son, her friends, and her sister, played by Liv Hill.

The enigmatic stranger

Mina meets an enigmatic man named Michael, played by James McAvoy, during a pub quiz night. He stands at the bar, smiling benignly and drinking a non-alcoholic beverage. Michael approaches Mina with easy confidence and a quiet authority that she finds difficult to read. McAvoy's Scottish accent further blurs any potential class distinctions between them. After walking her home and showering her with compliments, Michael leaves without entering her house, playing the perfect gentleman. Mina later learns he volunteers at a local food bank, which deepens her fascination, though she wonders how he earns a living.

Growing suspicion

Mina's sister becomes suspicious of Michael, noting how well-spoken he is and sensing something secretive and supercilious about him. She speculates he might be a teacher or performing court-ordered community service. Mina dismisses these concerns, captivated by the attention Michael shows her. He visits her home and quickly bonds with her son, Jamie, even playing Super Mario Kart with him in his bedroom. This display of quasi-paternal instinct delights Mina.

A cocktail of dread

Director Paul Andrew Williams shrewdly controls the film's growing mood, which The Guardian reviewer describes as a cocktail of dread, fascination, and something akin to an occult conspiracy. Michael seems to know something about Mina's babysitter that Mina herself does not suspect. The central dramatic events intensify this atmosphere. Mina is portrayed as passionate and bewildered, while Michael assumes a priestly air, appearing as either a helpful guide or a vampiric outsider. The initial concern that he was 'too good to be true' evolves into a more complex and unsettling problem.

Performances and style

The review credits the 'alpha-grade cast' for presenting the mystery with intelligence and focus. Williams often shoots his principals in looming close-ups, suggesting the drama's strange secret could be deciphered from their faces. The film's style and performances create a powerful, involving experience that the reviewer compares to the work of directors like Atom Egoyan or M. Night Shyamalan. The piece concludes by noting the film's startling and unsettling power, anchored by the committed performances of its two leads.