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    movie review

    The Hunt mows down the left and the right in raucous satire

    Craig Lindsey
    Mar 13, 2020 | 9:30 am

    After review, The Hunt harks to the Alexander Payne film, Citizen Ruth.

    That 1996 dramedy had recent Oscar winner Laura Dern as a spray paint-huffing vagrant who becomes a cause celebre when she gets pregnant (again) and gets caught in the middle of an abortion-issue war between pro-choicers and pro-lifers, each with their own selfish agenda. She's trapped between the left and the right, and she has no choice but to fend for herself.

    Something similar happens in The Hunt (except without the abortion talk) with lots of guns.

    Much like Payne did with his debut film nearly 25 years ago, this black comedy (which was supposed to be released last fall, but was shelved due to our president saying the movie would "inflame and cause chaos") is out to take the vitriol — and a lot of blood — out of both sides of the aisle, in the broadest, most bullet-riddled way possible.

    The heroine this time around is Betty Gilpin (of the Netflix show GLOW), an Afghan war veteran who is one of the many people who gets drugged and whisked away to an unfamiliar place and ultimately, hunted for sport. It turns out they are the prey for a group of rich liberals (led by Hilary Swank, all elitist and bloodthirsty) who are heavily armed and ready to mow down some right-wing deplorables.

    Emma Roberts, Justin Hartley, and Ike Barinholtz are some of the conservative-minded captives who are also running for their lives. (Viewers might not be concerned about their well-being for much of the movie.)

    This whole thing is about Gilpin's badass soldier, who easily slips into kill-or-be-killed mode and properly begins taking out these upper-crust NPR listeners one-by-one. Gilpin, an amusing, eccentric actress, appears to take wicked glee in playing her heroine as both quick-witted and quietly unhinged, virtually unfazed by all the insanity that's going on all around her because she's been down this road before.

    Perhaps the umpteenth retelling of the short story The Most Dangerous Game (our favorite adaption: the '90s flick Surviving the Game, where Ice-T gets hunted by Rutger Hauer and Gary Busey?), Hunt comes to us courtesy of producer and TV impresario Damon Lindelof, who wrote the script with Nick Cuse (son of frequent collaborator Carlton Cuse).

    Along with director Craig Zobel, who has directed episodes of The Leftovers and Westworld and already tackled the subject of gullible yokels in the films Great World of Sound and Compliance, all use this film to gut — figuratively and literally — both the red and blue state folk, who are both portrayed here as self-centered, ill-informed, and utterly sanctimonious.

    Call it an examination of social media, which is literally a daily, never-ending cacophony of loudmouthed people on both sides, constantly drowning each other out to show they're better than the other.

    Indeed, no matter how silly and savage The Hunt gets, it's still nowhere as insane as the news we get on an hourly basis.

    Betty Gilpin as Crystal in The Hunt.

    The Hunt movie review Betty Gilpin as Crystal in The Hunt
    Photo Credit: Patti Perret/Universal Pictures
    Betty Gilpin as Crystal in The Hunt.
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    Movie Review

    Five Nights at Freddy’s 2 doesn't match the first movie's enthusiasm

    Alex Bentley
    Dec 4, 2025 | 3:45 pm
    Five Nights at Freddy's 2
    Blumhouse
    Five Nights at Freddy's 2.

    Blumhouse Productions first made their name with the Paranormal Activity series, establishing themselves as a leader in the horror genre thanks to their relatively cheap yet effective movies. In recent years, they’ve added on “soft” horror films like M3GAN and Five Nights at Freddy’s to draw in a younger audience, with both films becoming so successful that each was quickly given a sequel.

    Five Nights at Freddy’s 2 finds Mike (Josh Hutcherson) and his sister Abby (Piper Rubio) still recovering from the events of the first film, with Abby particularly missing her “friends.” Those friends just so happen to be the souls of murdered children who inhabit animatronic characters at the long-defunct Freddy Fazbear’s Pizza, children who were abducted and killed by William Afton (Matthew Lillard).

    A new threat emerges at another Freddy Fazbear’s location in the form of Charlotte, another murdered child who inhabits a creepy large marionette. Mike, distracted by a possible romance with Vanessa (Elizabeth Lail), fails to keep track of Abby, who makes her way to the old pizzeria and inadvertently unleashes Charlotte and her minions on the surrounding town.

    Directed by Emma Tammi and written by Scott Cawthon (who also created the video game on which the series is based), the film tries to mix together goofy elements with intense scenes. One particular sequence, in which the security guard for Freddy Fazbear’s lets a group of ghost hunters onto the property, toes the line between soft and hard horror. That and a few others show the potential that the filmmakers had if they had stuck to their guns.

    Unfortunately, more often than not they either soft-pedal things that would normally be horrific, or can’t figure out how to properly stage scenes. The sight of animatronic robots wreaking havoc is one that is simultaneously frightening and laughable, and the filmmakers never seem to find the right balance in tone. Every step in the direction of making a truly scary horror film is undercut by another in which the robots fail to live up to their promise.

    It doesn’t help that Cawthon gives the cast some extremely wooden dialogue, lines that none of the actors can elevate. What may work in a video game format comes off as stilted when said by actors in a live-action film. The story also loses momentum quickly after the first half hour or so, with Cawthon seemingly content to just have characters move from place to place with no sense of connection between any of the scenes.

    Hutcherson (The Hunger Games series), after being the true lead of the first film, is given very little to do in this film, and his effort is equal to his character’s arc. The same goes for Lail, whose character seems to be shoehorned into the story. Rubio is called upon to carry the load for a lot of the movie, and the teenager is not quite up to the task. A brief appearance by Skeet Ulrich seems to be a blatant appeal to Scream fans, but he and Lillard only underscore how limited this film is compared to that franchise.

    Five Nights at Freddy’s 2 is better than the first film, but not by much. The filmmakers do a decent job of making the new marionette character into a great villain, but they fail to capitalize on its inherent creepiness. Instead, they fall back on less effective elements, ensuring that the film will be forgettable for anyone other than hardcore Freddy fans.

    ---

    Five Nights at Freddy's 2 opens in theaters on December 5.

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