Few films receive a marketing bump quite as staggering as the one behind The Hunt.
Originally scheduled for release last October, with its controversial trailer premiering two months prior, the movie was shelved indefinitely amid the social unrest following a pair of mass shootings.
The politically charged promotional footage, which depicted liberals hunting conservatives for sport, predictably drew the ire of many given the cultural climate.
Several news cycles later, Universal dropped a new trailer, touting their release as “the most talked about movie of the year that no one’s actually seen.” Given the current coronavirus scare, it’s ironic that the movie will likely remain unseen by many for reasons entirely removed from its political provocations.
After a text thread between unseen friends depicts them discussing a “hunt” for “deplorables,” we meet a group of 12 strangers who wake up in the middle of the woods a la The Hunger Games. One brave soul opens up a large crate in the middle of the field, which houses a tiny clothed pig and an impressive array of weaponry. After they each grab their firearm of choice, the group is immediately fired upon by unknown assailants and the hunt appears to be on. A series of spectacularly bloody deaths occur and after some time is spent with some of the other survivors, the story settles upon Crystal (Betty Gilpin), the most fearless of the bunch who is determined to beat the hunters at their own game.
A relentlessly cheeky take on The Most Dangerous Game that gleefully skewers both sides of the political spectrum, The Hunt has enough satirical surprises up its sleeve to make its predictable premise palatable.
Sure, personifying the current cultural war as a literal bloodthirsty battle royale between liberals and conservatives is not the most subtle of artistic choices, but director Craig Zobel knows this. Instead, he saves a more precise aim when he goes for specific targets ranging from conspiratorial podcasters who are primed to out crisis actors to NPR addicts who blanch at the sight of cultural appropriation.
Screenwriters Nick Cuse and Damon Lindelof revel in being equal opportunity offenders, although it could be argued that the holier-than-thou liberal captors get put on blast even more than their conservative captive counterparts.
Even though the film is loaded with charged language and incendiary laugh lines, its influences and aspirations lie more in the genre of female-centric gory thrillers like Kill Bill or last year’s Ready or Not. It’s the kind of movie that delights in picking off characters with bits of brutality that get more ridiculous as the story progresses.
Within that context, Gilpin’s Crystal is a formidable “final girl” who doggedly assesses each threat with a droll, matter-of-fact sense of humor about the circumstances. Armed with a measured Mississippi drawl and dead-eyed stare, she turns in a fun and commanding performance with some appropriately over-the-top affectations and crazed mannerisms.
Just like their work on ABC’s Lost, Cuse and Lindelof start with a familiar “desert island” premise before introducing myriad twists and turns that will have audiences questioning characters’ motivations and where their allegiances lie. Unfortunately, problems with storytelling come about when these plot wrinkles generate logic issues within the narrative. Even at a taut 90 minutes, the film sags a bit too much in the middle as we impatiently wait for the admittedly outstanding final showdown.
As a brazen sendup of America’s current political divide, The Hunt is surprisingly solid satire.
New movies come to video on Demand
With the closing of cinemas worldwide, NBCUniversal made the unprecedented move to release new movies to streaming services the same day as their theatrical releases.
Look for The Hunt, The Invisible Man, and Emma to be released for $19.99 rental from services such as iTunes and Amazon Video as early as Friday, March 20.