Antonio Campos delivers a star-studded, darkly comic psychological thriller set in the postwar American Bible belt“There’s a lot of religion going around with this thing,” says Mickey Rourke’s shell-shocked gumshoe in Alan Parker’s Angel Heart, a devilish mix of neo-noir intrigue and gothic horror based on William Hjortsberg’s page-turning novel.
The same could be said of The Devil All the Time, a similarly genre-bending tale of twisted faith and postwar trauma, adapted from Donald Ray Pollock’s 2011 novel, which drew comparisons with Flannery O’Connor, William Faulkner and Cormac McCarthy.
Set between the aftermath of the second world war and the gathering storm of Vietnam, it’s a labyrinthine tale of hardscrabble lives and monstrous deaths in woodsy environs, littered with fanatical fornicating preachers, misguided, faith-fuelled sacrifices and tortuous family legacies, passed unforgivingly from one generation to another.Flipping back and forth in time as the narrative slips between Coal Creek,
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