Wasn’t there a hullabaloo when this movie came out – the thought of people capturing other people to hunt in the woods is preposterous? Y’all never seen a horror movie before; there’s more grotesque and crazier premises out there than this. That’s not to say that this is a particularly nice one, (and the U.S.A. does have a disturbing number of gun-violent incidents per year that don’t need further gratification), but I think it was the political inferences allegedly attached to this picture that had some extremists hoping for a ban. Sounds juicy. After a review or two telling everyone to chill out, and even the makers of the movie making a joke of the fuss on one of their posters, The Hunt made its way to my watch list. And so, here we are. You know how I knew it wasn’t going to be ridiculously repulsive like the outragers would have us believe? Because it has Emma Roberts and Ike Barinholtz in it. They have careers; they’re not going to chance it on a political gore flick that’s going to piss off Hollywood dealmakers. The most gruesome of horror schlock can only ever get a bunch of aspiring actors, just happy to get that pay check. That’s how I read it anyway. And I was right. Let’s review.
The Hunt begins with a text thread between wealthy liberals disgusted by the President’s latest move, and looking forward to the upcoming hunt where they get to ‘slaughter some deplorables’. In an open field, a random group of people wake up gagged, and find a crate full of weapons. From then, it’s run-or-die time, as shooting starts from a nearby bunker. A few make the connection that they are in ‘Manorgate’; a previously-considered conspiracy theory where rich elitists hunt normal folk for sport. The Hunt stars Betty Gilpin, Hilary Swank, Wayne Duvall, Emma Roberts and Ike Barinholtz, to name a few, and is directed by Craig Zobel.
Sometimes it’s great to watch a simple movie and forget about politics for a while; forget that there are people out that can show contempt for any little thing. I’m really starting to think of outrage as an intellectual vice akin to physical ones like booze and drugs. At least this movie makes fun of the political extremities on both sides, because they can all be relatively nuts. Gary (Ethan Suplee) doesn’t even believe in refugees for goodness sake, and one of the hunters’ objects to making jokes on any serious topic because it’s too sensitive. Betty Gilpin has a tough job really, of playing her character Crystal, down the political middle, as well as coming off a little unhinged herself. Crystal becomes the lynchpin in this operation, which probably would have gone a lot smoother if the hunters had done their homework better. It’s really great to see an actress understand what movie she is in and completely embrace it; Crystal is a very unique protagonist made possible by a patient and calculated performance – just wait for her to react to paying for some cigarettes or need a wee, and realise the cool, calm and charismatic action hero we often see is professionally overshadowed here. And as far as toughness goes, I’d imagine Sarah Connor of the Terminator franchise would meet Crystal and say ‘lady, you’re scaring me.’ I loved her, and somehow want to see more of her, if a sequel or spin-off is allowed. I definitely want to see more of Betty Gilpin, no doubt; this is the first time I recall coming across her. Like Samara Weaving in last year’s Ready or Not, this performance elevates the movie; a horror standout.
There are great thematic references, particularly Animal Farm and the fable of the tortoise and the hare – prior knowledge of this content is going to get you far, but the movie makes stops to point out important stuff so everyone can toddle along. I can see some literary leaders finding the references too heavy-handed, and other novices still confused, but, ey, it is what it is; you can’t always make a movie that everyone is going to understand all the same. I, myself, was bloody grateful for the catch-up dialogue discussing such matters, because I’ve read Animal Farm but only remember the gist of it; I certainly didn’t remember the first revolutionist pig was named Snowball. Then, I was surprised and not surprised to learn in the closing credits that the movie had been co-written by David Lindelof, a writer famous for his hand in writing the TV series Lost; a show that was massive on literary and philosophical nods way below the surface. This is a very academic horror movie, but don’t despair, if you want a gory killing spree, and a movie with excellent twists and turns, you’ll get it, although be aware the political discourse is unavoidable.
The Hunt is basically a grass-roots Purge, or similar to The Hunger Games without the futuristic fashionistas ogling from afar. I’m sure the most shocking discovery will be the premise of Blues hunting Reds; it’s fly-over country rednecks on the run from the coastal cucked snowflakes for a change. The movie is not as humorous as I thought it might’ve been, given the premise lends itself to satire, but I’m glad for that, because I think comedy would have got in the way of the wider messages – next time you’re tempted to get into one of those twitter-civil-wars I hear so much about, just take a moment to be grateful the other side is not standing across from you in an open field with an arsenal. I was also happy to discover Emma Roberts joins the ranks of horror movie beauties, like Drew Barrymore, with The Hunt, but I won’t say more… I was really impressed by the snappy pacing, and casual dialogue that slotted in a lot of political discussion with poise. Don’t get persuaded by the outrage, people! The Hunt is a highlight of the year.
4.0.
Leave a Reply