Friday 19 June 2020

The Hunt (2020) - Movie Review



Well, this film isn’t exactly shifting its place on my radar, and it’s not like there will ever be a good time to discuss it, so what the hell, let’s do a political meme movie. The kind of movie that gets tremendous word-of-mouth on the basis of it being a political statement, only that aspect is taken at face value, resulting in a lot of discussion about it from people who more than likely haven’t even seen it. As we’ll get into, that itself is weirdly in-sync with the film’s contents, but as we’ll also get into, that might be damning with faint praise on my part.

From writers Damon Lindelof and Nick Cuse, who have already hit major poignancy with their surprisingly successful Watchmen series, and director Craig Zobel, who among other things is a cornerstone of the Flash-era Internet thanks to his work on Homestar Runner, this political satire/action thriller/social horror/Demoncrat vs. Cuckservative yarn is one built on extremities. And no, not just the ones that get blown off due to a hand grenade down the pants.

Its story, essentially Black Mirror’s White Bear with a blood-stained face-lift, builds on the social media-fuelled penchant for conspiracy theories, here embodied as a ‘hunting reserve’ where the liberal elite shoot down the Right for sport, and it certainly feels like a product of Internet extremity in how laden it is with buzzwords. Words like ‘snowflake’, ‘cuck’, ‘problematic’, ‘politically correct’, or basically anything people dole out when they want to disregard a person’s words to avoid actually responding to them.

This along with the plot is meant to highlight just how massive the political divide is in within the United States, furthered by how much misinformation and rather bizarre self-fulfilling prophecy play into the bigger plot developments. I specify “meant to” because, for a film so intent on being politically-charged, it’s pretty frickin’ aimless in doing so. It plays out like centrist theatre, only it’s what the term ‘centrist’ has come to mean in the Internet age; i.e. yet another fucking label that serves as a “Get out of actual conversation free” card.

Satire of this nature needs specificity, beyond timely language, and this just doesn’t have enough of it. Pointing out how both sides contribute to the bigger divide isn’t even that bad an idea on its own (hell, it’s the kind of statement that needs to be kept in regular circulation), and I like to think I’ve shown equal annoyance with soapbox features regardless of leaning, but going back to the Black Mirror comparison, this lacks the sharpness or even the empathy to make this kind of narrative work.

But the worst part of this whole thing? How fucking cool it is as an action flick. Betty Gilpin in the lead handles action-hero status insanely well, Darran Tiernan’s cinematography along with Nathan Barr’s particularly extravagant soundtrack work nicely together, and the fight choreography is top-tier shit. The hand-to-hand throwdowns, the gun fights, the copious levels of gore on display; its presentation is incredibly on-point, and if it was just an action-thriller, that would be more than enough.

However, just because it looks good doesn’t make the rest of it so. It is genuinely frustrating sitting through a film like this, one where its over-political mood means that sticking the landing is essential, and ultimately leaving it like it provided only the barest of insights into the political climate. All of a sudden, the mass media confusion over this film makes a lot more sense; when the attempt at commentary is this bland, it’s all too easy to imprint whatever the fuck you want to be enraged by onto it.

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