Him – Review

Every generation is defined by a different horror subgenre, from slashers, to torture porn, to found footage. Ever since Get Out nearly a decade ago, another subgenre has emerged. I’m not sure if it has a name, although TV Tropes offered the phrase “Crapsaccharine World.” Whatever you wanna call it, these types of stories usually follow an ordinary person on a remote getaway that appears normal on the surface. Soon enough, the people surrounding the protagonist reveal their hostile nature, often making them play a role in a sacrificial ritual. There’s also likely some political or social commentary thrown in for good measure.

While Get Out didn’t invent this subgenre, it certainly popularized the trend and remains the gold standard. Ari Aster’s Midsommar is a close second, while Zoë Kravitz’s Blink Twice put a fun spin on the setup as well. Earlier this year, Mark Anthony Green gave us Opus, a horror movie that was all commentary, yet had nothing to say. Justin Tipping’s Him sadly shares more in common with Opus than Get Out, despite desperately trying to be the football equivalent of the latter film. It even tapped Jordan Peele as a producer. A producing credit can only take a film so far, however. Like the Peele-produced Twilight Zone revival, Him prioritizes commentary over entertainment value.

It’s a shame, as Him contains Marlon Wayans’ most charismatic performance since Requiem for a Dream. Wayans plays Isaiah White, a quarterback who is widely considered the GOAT. It’s repeated so many times that one might wonder why the film wasn’t simply called GOAT. Probably because Sony Animation already has another movie coming out entitled Goat, starring a literal basketball-playing goat. If anyone can follow in Isaiah’s footsteps, it’s Tyriq Withers’ Cameron Cade, who has been groomed for greatness since childhood. Nothing will stop Cam from going the distance, not even a mysterious assault that leaves several stitches in his head.

Isaiah invites Cam to train with him on his remote estate surrounded by diehard fans who look like residents of Mad Max’s Wasteland. These are more than loyal followers. Isaiah has created a cult. Rather than let the audience piece this together, it’s stated as Cam arrives. Herein lies one of the main issues. For a film with otherworldly production design and atmospheric cinematography, Him constantly tells rather than shows. Even then, it’s unclear what exactly director Justin Tipping is trying to tell us.

Isaiah frequently talks about the sacrifices required to become the best. We don’t see any real sacrifices being made, however. Isaiah has what looks like a career-ending injury at the film’s beginning. Outside of one mention that he went to rehab, we never learn how the hell Isaiah bounced back. Cam isn’t the most well-defined protagonist either. Neither are his relationships with his family. He talks about his father, mother, and girlfriend, but we hardly see him interact with them. We thus don’t have much of an emotional connection to Cam as he seemingly descends into madness.

That’s another problem, as the film builds to a climax that’s chaotic just for the sake of being chaotic. It leaves us on a final note that provides little insight into the sacrifices that football players make. It’s also uncertain precisely who the film is criticizing. The obsessed fans? The bloodsucking managers and team owners? Or are players their own worst enemies? In any case, Justin Tipping is no Jordan Peele. At one point, Isaiah tells Cam not to be like him, and instead carve out a unique path. If only Tipping had taken his own advice.