Film Review: ‘The Hunt”

It was the non-controversy that rocked Hollywood. Universal and Blumhouse Productions’ feature film “The Hunt” promised a red state versus blue state showdown with the liberal left hunting “deplorables” for sport. After a major uproar over the content of the film by everyone from Fox News to Donald Trump, Universal announced that is not “the right time” for the film, postponing the September 2019 theatrical release to an undetermined date. Finally released six months later, the film begs the question, is the film was worth all the fuss? The short answer is no.

After a cryptic prologue, a group of twelve strangers awakens in an open field surrounded by woodlands bound with mouths gags around their heads. In the center of the field is a large, mysterious crate which when crowbarred open reveals two things, a small pig and a small arsenal of weapons, from knives to automatic weapons. As the panicked and confused group divvies up the weapons, shots ring out from out of nowhere and suddenly the strangers realize they are the prey for a faceless predator in a deadly game of class warfare. Bodies quickly start piling up and the strangers run aimlessly to avoid becoming the next victims. The film follows character to the next like a deadly relay, as one dies the baton is handed off to the next potential victim. The “baton” is passed off to a slew familiar faces, Emma Roberts (American Horror Story), Ike Barinholtz (The Mindy Project), Justin Hartley (This Is Us) are put in peril. Not bad a bad cast at all. Eventually, that baton ends up in the hands of Crystal (played by Betty Gilpin of GLOW) who is not going down without a fight.

Gilpin is a treat to watch in a physically demanding performance that has her taking down her hunters one by one. Her school mom looks are deceptive, behind her pony tale, squinty gaze, and constant scowl is a smart calculated survivor. She is also the most fleshed out all the film’s character, an attractive southern woman and war veteran who does not panic under any conditions. While the other hunted are playing checkers, she is playing chess, strategically planning ways to take out the hunters one at a time. Crystal is vicious, merciless, and calculated – part John Wick part Rambo all while retaining some of her southern charms.

She outwits and outmatches her opponents while stuck in the middle of a constant guessing game about the true intentions of every person she runs into along the way. Using her combat skills and some impressive stunt work, she does whatever is necessary to wipe out those who want to do her harm. Are they on her side or are they there to kill her? This need for constant alertness keeps the suspense level relatively high often leading to surprising quick and savage deaths. The film’s violence is definitely gory and visceral with plenty of exploding bodies, gunfire, and a couple of impalings. It is gross but never disturbing as it leans toward cartoony helping to accent the humor of the moments. This campy action-filled battle royal can carry much of the 90-minute running time for those who came for that kind of ride.

The problem lies in the expectations of those looking for a biting satire which has something about the political state of the country. The film is more bark than bite and any satirical elements are rather toothless. Surface level observations about the left and right in this country substitute for meaningful introspect. Having the snobby “tolerant” liberal elite subvert expectations by being the gun-totting killers the right are often conveyed as was a good first step, but the film is afraid to take sides and does not advance on that idea. By painting both sides to be in the wrong it avoids having anything substantial to say besides spotlighting the burning hatred coming from each side.

Characters come across like caricatures than a deep study of the people portrayed. The closest we come to “deep” is in the dialogue with lines like, “For the record, climate change is real, a**hole,” screamed as one character kills offs another. Shallow political commentary is spewed on both sides but it never more significant than you would find in the online discourse the film condemns. There are also “Animal Farm” references throughout that attempt to add substance, and while they seem clever they also muddle any statement the film thinks it is making.

Besides Gilpin’s performance as Crystal, Hillary Swank provides the most spark to the film. As Athena, a bitter liberal elite ringleader who arranges the hunt to get her twisted revenge. She chews up the scenery and displays some surprisingly sharp combat moves. One scene has them put on full display in a well-shot, well-choreographed face off. You will know it when you see it. It is a winner. Most of the remaining cast is given varying amounts of screen time, some as short as a few minutes, preventing them from making any impact besides being lampooned as they meet their untimely fate.

For those looking for big shocks, you do not have to go further than the credits where you will find one of the biggest. The writers behind the screenplay are no other than Nick Cuse and Damon Lindelof who have written and/or created some of best of tv, including Lost, The Leftovers, and Watchmen. Fair or unfair, after delivering such amazing shows, I would have expected more bite from the “The Hunt.” I smell studio interference.

Director Craig Zobel delivers a violent, humorous escapist fun that retains its kinetic energy through most of the film. As any sort of political commentary, it is less successful and I doubt many viewers from either side of the political spectrum will leave this film feeling offended or victorious. Both parties take some hits even if all the derision results in mere flesh wounds instead of any mortal wounds. Ultimately, after all, the dust settles does not have as much to say as it thinks it does. And, in reality, this may be the best approach for a country that is probably as divided as it has ever been since the Civil War. More division is not required. We have had our fill.