A British hooligan gets an unusual rehabilitation process in Heel, a highly intriguing but uneven thriller from Oscar-nominated Polish director Jan Komasa (Anniversary). What begins as a twisted kidnapping mystery sinks its narrative teeth deeper with sharp character exposition that gives a banner ensemble ample room to shine. The film keeps you glued to the screen in anticipation of big reveals despite several glaring problems that strain credulity. Heel’s superb tension then deflates like a balloon in a somewhat disappointing final act which purposely leaves many questions unanswered. You’re left appreciating the film’s finer points, but wanting a better resolution after such a strong first act.
A decadent montage of the unruly Tommy (Anson Boon) in action opens Heel with a salacious bang. He chugs booze, pops pills, and snorts cocaine on an epic bender through the chaotic Yorkshire night. Tommy bounces from clubs to parties with his smitten girlfriend Gabby (Savannah Steyn) in tow. Though she gets furious at his antics, she can’t stop the wrecking ball that is Tommy from hooking up with other women and fighting anyone who crosses his path. He leaves her behind in a huff and roams onward solo with not a care in the world, failing to notice that a car is following him.
Some time later, Rina (Monika Frajczyk), an immigrant desperate for work, meets Chris (Stephen Graham) for a job interview in a café. He has odd requirements that make her feel uncomfortable. Rina must sign an NDA if she accepts his offer for maid services, and there are specific rules that cannot be broken. She cannot discuss anything done or seen at the house. Rina reluctantly agrees and shows up early at a gated country estate miles away from the nearest neighbor.
Chris wands Rina with a metal detector after confiscating her phone before introducing his wife, Kathryn (Andrea Riseborough). Pale and eerily quiet, his “princess” will ring a bell if anything is needed. Next is their pre-teen son Jonathan (Kit Rakusen), whom Chris calls “sunshine.” Clearly unnerved, Rina gets the shock of her life when Chris takes her to the cellar, where they find a cursing and bruised Tommy chained to the wall by his neck. Chris hands Rina some pepper spray and a taser gun to keep in her apron, just in case.
The obvious question is why Rina doesn’t run for the hills and call the police, but Komasa (Corpus Christi) has that deftly handled. Chris chose Rina for a specific reason. He knows she’ll keep quiet and do as ordered. This is Komasa’s first hint about Chris’ sinister capacity, but it’s also a clever feint that disguises his true agenda. What kind of man would keep Tommy locked up? Are his wife and son part of the imprisonment or also under some kind of duress? Rina initially serves as the eyes, ears, and conscience of the audience, who are just as mystified and shaken.
It’s important to note that Tommy is not endearing in the least. He’s an awful brute who seemingly deserves some sort of comeuppance, though the exact reason for his captivity is unclear. Heel’s second act reframes how we view Chris and his family. It’s quite disturbing, on one hand, but also fascinating, as their intentions go beyond punishing Tommy for his terrible behavior. The mission to show Tommy the errors of his ways inadvertently leads to startling self-reflections.
Komasa’s evolving portrayal of Chris and Kathryn illuminates their power structure. Kathryn is introduced as nearly catatonic, leading us to infer that she’s faced some kind of trauma, needs constant care, and is subservient. That might not be the case, as we learn that Chris is entirely beholden to Kathryn’s desires. Riseborough is fantastic as Kathryn’s actual nature emerges, revealing a woman who is formidable and terrifying, but also vulnerable and seeking an outlet for complex emotions. Graham, whose brilliance in playing layered characters cannot be overstated, gives Chris remarkable range in justifying his efforts to please her. He wants to make Kathryn happy, and will do anything to accomplish that goal.
What transpires next is the result of a family dynamic steeped in manipulation. We wonder if Tommy is changing for the better, or pretending to plan his escape. He exhibits transformative growth, but can a leopard change its spots? Komasa dangles multiple possibilities as the plot thickens, with the cinematography darkening to aid an ominous turn. If only the payoff warranted the set-up, as Heel‘s contrived ending honestly leaves multiple threads unresolved.
Heel can be criticized for sizable gaps in logic. Chris is capable of welding and rigging sophisticated chain structures to lock Tommy down, but he doesn’t have a camera system or any kind of electronic surveillance in place, which makes Komasa’s climax even more of a stretch. That said, you can’t discount the value of great performances and mounting tension. Riseborough and Graham are easily worth the price of admission.
- Release Date
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March 6, 2026
- Runtime
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110 Minutes
- Director
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Jan Komasa
This story originally appeared on Movieweb
