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In the moment of #MeToo, this tale of the relationship between a male professor and a young female student is howlingly out of step and outrageously tone deaf. And that’s on top of its tedious clichés.
Lots of female characters (albeit in films with only tiny releases), and so many of them are being menaced, threatened, and violently attacked. Damn.
The traditional “last girl” of the horror genre moves to the center of the film, where she is in charge of her own story, a positive move for the genre. [This post is not behind the paywall.]
This isn’t only another rote slasher movie, full of ridiculous coincidences and obvious red herrings: it’s actually worse than that, yet thinks it’s clever.
It feels smaller and more rushed — and less plausible — than it should, but Anton Yelchin is charming, and the snappy comic tone sometimes works.
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