Blog Archives

The Hunt (2020)

hunt_ver2Has there been a movie with worse luck than The Hunt? It was originally scheduled to be released in late August 2019 and was postponed after the back-to-back mass shootings in El Paso and Dayton. Its studio, Blumhouse, pulled the movie out of sensitivity and rescheduled it for March, trying to draft off some of the latent controversy once President Trump caught wind of its liberals-versus-conservatives battle-to-the-death premise and tried to make political hay from it. The marketing highlighted quotes from political figures and writers and asked audiences to judge the controversy for themselves. Flash forward, and the new release date was pretty much the last weekend of theatrical action in 2020. Thanks to the worldwide spread of COVID-19, very few people ventured out from the safety of their socially distant homes to the movies, and it’s only become more dire since. Now just about every wide release has been scuttled from the release date from March into the middle of the summer, and who knows how long this may carry on for. The Hunt may be the last new theatrical movie for the foreseeable future. Thankfully, Universal made their theatrical releases available on demand (this may be an irreversible new reality of distribution) and I watched The Hunt at home. I home hunted, and I’m glad I did. If you’re a fan of Ready or Not and You’re Next, then The Hunt and its shocking violence, demented humor, and political satire might prove appealing.

A group of strangers wakes up gagged in a field. They’re given weapons and then the hunt is on from an unseen force. Crystal (Betty Gilpin) is trying to make sense of where she is, what is happening, and how she can escape into safety and who she may be able to trust.

c7f31a20-4d03-11ea-9bfd-a9714bb423baI was consistently laughing throughout The Hunt and amused at its breakneck twists and turns. It’s a film that lets you know very early that it’s willing to go to some dark and twisted places. It throws a lot of characters immediately into the grinder, as you go from following one person who is ultimately slain to another person who eventually meets the same fate, and it creates a desperation of trying to find an anchor. It also makes it feel like anything can happen at any time, that whatever might seem normal could really be hiding a dangerous reality. It’s the kind of movie that isn’t below throwing a grenade down someone’s pants. It has definite satirical sights but that doesn’t stop it from being an enjoyable dark and thrilling little movie. Once we settle on our main heroine, the new joy becomes her ability to see through the facades of different scenarios and fight back, again and again. It’s a wonderfully executed setup of giving us a very capable fighter who is constantly underestimated and then watching her opponents toppled. Each new scenario gives us someone to root for and a new mini-boss to foil. The film becomes a series of escalating payoffs tied to the smartest person making others pay for their mistakes.

I always thought the anger that conservative pundits, and Trump, assailed The Hunt with was misplaced considering that, given the premise, it seemed very much like the liberal elites were the villains. For most of the first act, this is the case, as we’re dropped right into the mix and left to learn on our own much like the hunted conservative characters. We are put in their shoes and don’t even see who may be hunting them until 15 minutes in. For the opening of the movie, it’s like the beginning of the Hunger Games. What is this crate? Why is it filled with weapons? What’s the deal with the pig? It’s a game that you’re trying to learn the rules of while bullets are whizzing by heads, and sometimes splattering into them too. Unquestionably, our allegiance is with these vulnerable people trying to make sense of this madness and survive. We see their humanity. When they do finally encounter their predators in disguise, the liberals can barely conceal their contempt and prejudices. If anyone is actively rooting for the predators after the first act, then they haven’t been paying attention or were too far gone with empathy.

However, the movie does start to take a turn the longer we spend with the hunted conservative characters, all but one not given official names (the list on IMDB cites names like Staten Island, Yoga Pants, and the parenthetically-enabled, (Shut the F*** Up) Gary). They begin to play into the same overblown prejudices and negative stereotypes of their across-the-ideological-aisle peers. As The Hunt continues, it becomes more and more apparent that screenwriters Damon Lindelof and Nick Cuse (HBO’s The Leftovers) have crafted a political satire that takes aim at both sides (more on this specific aspect later). Eventually the real target reveals itself to be extremism and how it can cloud one’s judgement and ability to see other people on human levels. There’s a late scene where a conservative figure confronts the liberal designer of the Hunt, and they get into a circular argument over which side is responsible for the creation of this death game. It’s a hilarious blame game but also emblematic of what happens when people try to play on the same level as conspiracy theorists who distort reality to their pre-selected biases. Sometimes in politics you need to fight fire with fire and sometimes that extra oxygen only makes things worse.

11hunt-superJumbo-v2Now The Hunt does have an issue with its “both sides are to blame” approach and that’s the false equivalency of the danger of right-wing and left-wing conspiracy clans. Right-wing militants are the ones saying Sandy Hook was a hoax with crisis actors, that Jade Helm was a military plot to take over the states, that scientists are in a cabal to bring down the petroleum industry, and cooping Americans up from COVID-19 to damage Trump, that immigrants are bringing crime and disease into the United States, and other such nutjob ideas. While left-wing extremists can be callous and have their own science denial problems (GMOs, vaccines), they aren’t the ones taking arms, storming federal buildings, sending pipe bombs in the mail, killing anti-Nazi protestors with cars, and shooting brown-skinned strangers in a Wal-Mart parking lot. One of these two ideological sides seem far more likely to support dangerous extremism than the other, especially with a man in the Oval Office who seems to wink and nod at these reactionary elements in approval. While the “both sides are bad” approach to satire allows The Hunt and its filmmakers more ground to market their movie to a wider audience sick of extremism, it’s also a dubious false equivalency that deserves to be called out.

Betty Gilpin (Netflix’s GLOW, Stuber) is the star of the movie and a force of nature. She’s capable, cunning, disarmingly physical and perceptive, and she creates wonderfully bloody havoc. She is a delight and her one-upping her opponents never gets old. She is no-nonsense and blunt, and her efficiency is admirable and highly entertaining. Gilpin is a surprise in badass mode, but she makes it her own with style. A late Act Three fight is brutal as it goes from room to room, smashing everything in sight. It goes on for so long that the fighters start to get fatigued, pleasantly reminding me of the excellent fight choreography of 2017’s Atomic Blonde. It’s a satisfying final confrontation and doesn’t find a contrived way to hold back her formidable ability.

106072660-1565465049545the-hunt-gal-1-5d407ec97db7c-1croppedThe Hunt might have been cursed with bad luck but it also might have the distinction of being the last new movie in theaters in what is proving to be an increasingly challenged year of content delivery. It’s certainly not going to be a film for everyone despite its aim at centrism. I was entertaining by the script’s constant knack for surprises and upending my expectations, of laying out dominoes and then laying waste to said dominoes. Gilpin is a star in the making and a terrific lead. It’s a movie that can get people talking by the end, debating its satirical messages, but it can also just be a fun, nasty little movie that will make you hoot in delight with each violent twist. I’m glad The Hunt could finally be judged on its own merits rather than the presuppositions of others. There might be a lesson in there somewhere.

Nate’s Grade: B

Stuber (2019)

The problem with the alchemy of action comedies is that once the action starts too often they forget to be comedies. Stuber (a portmanteau of our title character and “Uber”) follows the exploits of Stu (Kumail Nanjiani) as a passive, awkward, insecure retail employee and Uber driver and his newest fare, Vic (Dave Bautista), an aggressive police officer who just had Lasik eye surgery. The opposites-attract setup is a comedy staple and Nanjiani (The Big Sick) and Bautista (Guardians of the Galaxy) are well chosen for their roles. The problem with the movie is that only one of them gets to do or say anything funny. Nanjiani is entrusted with all the film’s humor, relegated to his riffing while under duress or sardonic detachment. I laughed here and there but Stuber is missing inspired set pieces and larger payoffs. Too many of the jokes seem obvious or lazy. There’s one genuine gut-busting gag involving a can of propane in a high-speed chase, but this seems like the only application of tweaking action movie cliches. There are some disposable storylines about finding a mole in the police department, tracking down a Very Bad Guy (one of The Raid actors, curiously kept from doing martial arts after the opening segment), Stu telling his unrequited love how he feels, and Vic making it on time to appear to his adult daughter’s art gallery show. It doesn’t matter. What matters is the enjoyable oil-water chemistry between the two male leads. The majority of the jokes occur just from their frantic interactions, enough so that I wish the exterior storylines had been shaved away. The film’s tone is too uneven, and when in doubt it falls upon action beats over comedy beats, and some times the violence is just a bit too harsh for the material. It can kill the good vibes quickly. This is more Pineapple Express to me than 21 Jump Street, and while I don’t regret having watched Stuber, it’s a movie that is hardly deserving of a five-star rating. Three stars, at best.

Nate’s Grade: C+

%d bloggers like this: