We’ve all had one of those nights. Maybe not quite as bad as the one in Till Death, but you know what I mean.
After an evening of sweet lovemaking at their secluded lake house, Emma (Megan Fox) awakens handcuffed to her very dead, attorney husband Mark (Eoin Macken).
As if this wasn’t enough of a predicament, the same thug (Callan Mulvey) that stabbed her during a robbery years before, is apparently dropping by to finish the job.
The vast majority of Till Death‘s running time tracks Emma’s excruciating adventures as she slides awkwardly into survival mode, with her late hubby serving as a constant ball and chain.
Director SK Dale and writer Jason Carvey make things rough on poor Emma, who proves to be more resilient than a powerful man’s trophy wife should be.
Tellingly, of all the items she has at her disposal, it’s Emma’s wedding dress that serves her best, both as bandage material, and as a travois for hauling a stiffening corpse around the frozen countryside.
Till Death works as a teeth-grinding thriller and as a visceral metaphor for the honeymoon being over in a big way. It’s in darkly comic top form when all the desperate parties are present and the cards are on the table—the same one Emma attempts to turn on her would-be assailants.
She was not a good wife. But Emma refuses to go down with the sinking matrimonial ship.
Lucky for her, she got custody of the survival instincts.