REVIEW: “Cuckoo” (2024)

As a seasoned movie critic with over three decades of experience under my belt, I’ve seen it all – from the sublime to the ridiculous, and “Cuckoo” falls squarely into the latter category. This film is a wild ride that’s as unpredictable as a rollercoaster on a windy day.

As a cinephile, I seldom find a title more fitting than “Cuckoo” for a film. This peculiar yet ingenious horror-thriller is the brainchild of its writer and director, Tilman Singer. The responses to this wild concoction are likely to span a wide range, and rightfully so. It’s unquestionably entertaining and zany in ways that only horror films can be. However, it’s narrative structure is somewhat disjointed, and the ending, although satisfying in its insanity, leaves behind numerous unanswered questions and dangling plot threads that could have been better tied up.

17-year-old Hunter Schafer portrays Grethen, a young woman who’s still mourning the loss of her mom. To escape the pain, she travels from America to reside with her dad, Luis (Marton Csokas), his new spouse Beth (Jessica Henwick), and their silent daughter Alma (Mila Lieu) in the Bavarian Alps. The household also includes an enigmatic figure named Herr König (Dan Stevens), who manages a mysterious mountain resort where they move. However, the change of location fails to bring comfort to Gretchen. Her only source of peace is leaving messages on her deceased mother’s answering machine.

In my critique as a movie-goer, upon moving into a new residence, the enigmatic hotel owner, König, extends to Gretchen an offer for employment as a receptionist at his seemingly tranquil resort. However, this serene facade soon crumbles as bizarre occurrences unfold – the chilling screams echoing from the surrounding woods, the perplexing cases of guests mysteriously falling ill, and the unsettling sensation that time itself is looping. To add to the growing unease, there are Alma’s inexplicable seizures. It soon becomes clear that König’s resort is not all it appears to be.

After that, the film takes us on an increasingly bizarre and disoriented journey, filled with one shocking revelation after another. Key components of Singer’s intricate web of deceit are revealed, such as König himself, whose suspicious behavior strongly suggests he’s concealing something. We also encounter a chilling figure with platinum blonde hair in a long trench coat, who wears oversized sunglasses to mask her glowing red eyes. Lastly, Henry (played by Jan Bluthardt) is introduced, a detective with hidden knowledge about the situation involving König. He convinces Gretchen to participate in his covert investigation aimed at thwarting König’s nefarious plans.

Although the thrilling and occasionally gory horror aspects are entertaining, there are parts of the narrative that could use more development. For instance, Gretchen’s sudden actions, such as her unexpected fascination towards a free-spirited visitor named Ed (Àstrid Bergès-Frisbey), feel abrupt and unexplained. The consequences of their interactions lack impact because their relationship is not adequately fleshed out. Similar issues arise with Luis and Beth and certain unclear motivations within the storyline.

The movie’s most significant letdown lies in its conclusion. As Singer gradually lifts the curtain on his dark and grotesque mystery, culminating in a violent climactic confrontation meant to wrap up all that’s been shown, it’s the intricate, though not flawlessly executed, cryptic mystery of the resort that shines best. Unfortunately, beyond this central enigma, many questions remain unanswered regarding character development and plot consistency.

2024-08-14 16:56

REVIEW: “Cuckoo” (2024)

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