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    Movie Review

    The monster in The Cursed has more bite than the film itself

    Alex Bentley
    Feb 17, 2022 | 1:40 pm
    Alistair Petrie in The Cursed.play icon
    Alistair Petrie in The Cursed.
    Photo courtesy of LD Entertainment

    When it comes to successful horror films, the number one factor is mood. If filmmakers hope to engage their viewers and have them on the edge of their seats throughout, they need to set the mood early. Without that crucial element, a horror film becomes much less compelling and, consequently, less watchable.

    That’s the fate that befalls The Cursed, a type of werewolf movie that spends too much time on setting one kind of mood when it should have been focused on another. Set in the late 19th century, it centers on an aristocratic family who, after gypsies lay claim to their land, violently eject the group off their property. However, just before being attacked, two of the gypsies conjure a curse involving attaching liquid silver to a skull’s jaw.

    The aristocrats, who do unspeakable things to those two gypsies, are soon cursed by those silver teeth, with everyone in the general vicinity dreaming about them. Soon, someone is transformed into a kind of hairless, slimy werewolf by the teeth, with nearly everyone in the area in danger of being attacked as well.

    Written and directed by Sean Ellis, the film has difficulty establishing any kind of suspense. Ellis cares way too much about setting up the bona fides of the aristocracy in the film than about making sure the threat that’s about to take a lot of them out is credible. Nearly every attack is telegraphed so much that any dread about impending violence is rendered null and void.

    Ellis also doesn’t do a great job getting the audience invested in his characters. Early on, he jumps from character to character so quickly that it’s difficult to know who the main protagonist is, something he never actually settles on. Boyd Holbrook plays John McBride, a pathologist who comes to help the family, but how exactly he can help isn’t clear until the plot has progressed too far for anyone to care.

    Then there are the smaller details that a better filmmaker would have nailed down. For example, if you go to the film’s IMDb page, it will tell you it’s set in rural 19th century France. However, everyone in the film speaks with posh British accents, and with names like Charlotte, Edward, and John, you’d be forgiven if you thought you were anywhere but England.

    The actors do their level best, although the way the film is staged, it doesn’t really matter who’s playing what role. Holbrook, Kelly Reilly, and perennial bad guy Alistair Petrie are the biggest names in the cast, and they play their scenes effectively. But they and the other actors are not showcased all that well, and so their performances wind up mattering little.

    The best that can be said about The Cursed is that at least Ellis chose to show his monster instead of keeping it hidden away. Overall, though, the film is very moody with little payoff, a story that — unlike its monster — has little bite.

    ---

    The Cursed opens in theaters on February 18.

    Boyd Holbrook in The Cursed.

    Boyd Holbrook in The Cursed
    Photo courtesy of LD Entertainment
    Boyd Holbrook in The Cursed.
    movies
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    Movie Review

    Michelle Pfeiffer visits Houston in new Christmas movie Oh. What. Fun.

    Alex Bentley
    Dec 5, 2025 | 3:30 pm
    Michelle Pfeiffer in Oh. What. Fun.
    Photo courtesy of Amazon MGM Studios
    Michelle Pfeiffer in Oh. What. Fun.

    Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.

    That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.

    Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.

    Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.

    The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.

    The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.

    Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.

    Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.

    ---

    Oh. What. Fun. is now streaming on Prime Video.

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