The Prodigy
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The Prodigy

The Prodigy from its first bars, two things are clear in ‘The Prodigy’: first, we move through familiar terrain and The Prodigy traveled many times before. The idea of ​​the evil one (here a murderer with a fondness for cutting off the hands of his victims) who dies when a child is born, allowing him to reincarnate in the creature, is not particularly original. In different variations, with or without a child, we have contemplated it to justify everything from supernatural dramas (‘The Two Lives of Audrey Rose’) to slasher festivals (‘Diabolical doll’) or ghost thrillers (‘Fallen’).

On the other hand, it is clear at the same time that Nicholas McCarthy wants to leave his moderately creative stamp on the horror and suspense sequences of the film. In these first scenes there are some moments (the meltdown between the newborn baby and the murderer’s corpse), some follow-up tracking shots, a certain way of photographing night and interior sequences that make it clear that there is a certain personal stamp, or at least the search for one. McCarthy, in the past, had signed some irregular but interesting streaks film, such as the tiny ‘Home’.