Review of The Thing With Feathers: Benedict Cumberbatch Delivers a Masterful Performance Amid Weak Horror Elements in This Adaptation

This year’s Sundance Film Festival showcased a compelling array of films delving into themes of mental health, grief, and familial dynamics. One notable returnee was acclaimed documentary filmmaker Dylan Southern, who premiered his latest feature, The Thing with Feathers. This adaptation of Max Porter’s poignant 2015 novel, Grief is the Thing with Feathers, tells the story of a father struggling to navigate life following the tragic loss of his wife.

Benedict Cumberbatch stars as “Dad, ”a character who is thrust into a caretaker role for his two sons after suddenly discovering his wife’s lifeless body. Overwhelmed by grief and the responsibilities of single parenthood, he faces the daunting task of helping his children, Richard and Henry Boxall, cope with their mother’s death. As the family grapples with their profound loss, Dad seeks solace in his work on a graphic novel, inadvertently neglecting the emotional needs of his sons.

The Thing With Feathers: An Exploration of Grief Through Horror

From the outset, Southern captures the intensity of fatherhood in the absence of a partner. Even mundane tasks, such as preparing breakfast, become monumental challenges. As Dad struggles to maintain a foothold in reality, a black crow begins appearing, symbolizing the transformative power of grief.

The crow first manifests when one of the boys wakes from a nightmare to find a black feather on his pillow. Traditionally, feathers represent a message from the spirit world, signaling the arrival of comfort during times of loss. Southern cleverly plays with this concept, allowing the crow—portrayed by Eric Lampaert and voiced by David Thewlis—to evolve from an ordinary bird into a significant presence that compels Dad to confront his responsibilities.

While Southern’s use of horror elements to express grief is inventive, it isn’t always successful. The crow’s appearances, often punctuated by tension-building music, aim to create suspense, yet the film sometimes loses its way. The narrative reflects the chaos of untreated grief, manifesting as neglect and emotional turmoil, but it is unclear whether the crow is a haunting figure or simply a representation of Dad’s internal struggle.

The film is structured into three chapters—Dad, Crow, and Boys—offering varied perspectives on mourning. Dad is depicted as nearly engulfed by his sorrow, while the boys, buoyed by the crow’s guidance, find ways to honor their mother through shared memories. This narrative strategy highlights the importance of differing coping mechanisms within a family, emphasizing the peril of ignoring grief.

Despite its insightful themes, the execution of these ideas falters. Despite a manageable runtime of 98 minutes, the film often drags, partly due to its chapter-based structure and horror elements that sometimes don’t resonate. While it’s valid to question the crow’s role in the family’s emotional landscape, Southern opts to leave interpretations ambiguous, which may alienate some viewers looking for clarity.

Cumberbatch’s Performance Elevates the Film

Amidst these mixed elements, one aspect shines brightly: Cumberbatch’s compelling performance. He infuses depth into his character, nearly overshadowing the film’s narrative shortcomings. In providing more to the boys’ roles, Southern ensures that viewers have additional layers to focus on, enriching the viewing experience.

It seems evident that Southern’s intentions were sincere in adapting this story. Grief inherently varies from person to person, and he sought to convey that diversity through creative storytelling. Ultimately, The Thing with Feathers possesses enough engaging content to pique interest, though its horror components may feel underdeveloped. Nonetheless, Cumberbatch’s dedication to his role is undeniable, making it worthwhile to witness his performance.

The Thing with Feathers premiered at the 2025 Sundance Film Festival.

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