Shudder remains the go-to destination for horror streaming, weaving a wide web of nasty delights as they constantly add more to their impressive lineup. Their original films have ranged from excellent (such as Oddity and The Sacrifice Game) to hilariously entertaining (Slaxx and Attachment) to just plain bad (Perpetrator and Skinamarink). Eric Klane’s The Dead Thing falls somewhere between the latter two categories.
There are flashes of creativity scattered throughout the film, particularly relating to the dating scene, as explored by Klane and co-writer Webb Wilcoxen. Nevertheless, the disjointed plot and intentional evasion of straightforward answers to its abundant questions can be quite frustrating. The film captures ghostly romance yet delivers little beyond unintentional comedic moments and nonsensical narratives.
Set against the backdrop of Los Angeles dating culture, we follow Alex (Blu Hunt, The New Mutants), who endlessly swipes her way through life thanks to the dating app FRIKTION. Ultra close-ups focus on her lovers, emphasizing Alex’s haunting dissatisfaction with her romantic encounters. Eventually, she finds chemistry with Kyle (Ben Smith-Petersen, Furiosa: A Mad Max Saga), but their connection is fleeting when Kyle disappears without warning.
Days go by, and Alex, struggling to reconnect, flirts with her coworker Mark (Joey Millin, Threshold) and re-enters the dating scene, yet can't shake her thoughts of Kyle. Following him to another date, things take odd turns as Kyle's hidden agenda emerges. Despite their chemistry, neither Hunt nor Smith-Petersen fully captivates. The gothic music and retro-style credits initially hook viewers, but these promising hooks fade swiftly.
Comparisons to All of Us Strangers and The Invisible Man make the film’s failure even more glaring; it lacks emotional depth, leaving plots riskily open with gaping holes. The effects feel more amateurish than innovative, though John Karna’s (MTV’s Scream, Premature) brief presence does remind audiences of genuine talent.
The Dead Thing attempts to merge supernatural horror with romantic drama but falls short, resulting in an inconsistent mess dropping onto Shudder this Valentine’s Day.
Another notable release, Companion, directed by Drew Hancock, emerges as both refreshing dark comedy and social commentary. Though the previews hint at what awaits viewers, the allure lies within its concept and execution. The film encapsulates themes of toxic masculinity and identity, described as akin to extended Black Mirror episodes.
Sophie Thatcher (Heretic) wonderfully portrays Iris—manipulated by the male gaze and unaware of her programmed existence as an emotional support bot. Josh (Jack Quaid, The Boys) invites her to deepen their relationship amid startling revelations about her fabricated identity. The narrative balances humor and emotion, posing questions about contemporary masculinity and social constructs—all wrapped tightly for its brisk 90-minute runtime.
While the plot moves swiftly, some themes remain underexplored, yet Thatcher's performance captures the dissonance of embodied technology versus human experience. Hancock’s script subtly critiques ingrained stereotypes without overloading viewers, making it enjoyable without being heavy-handed.
The special qualities of Companion shine, from Thatcher’s physicality to Quaid's ploy as the ‘nice guy’. The film’s knack for humor, juxtaposed with chilling moments, keeps the audience engaged throughout, successfully blending comedy with troubling subjects.
Presence, co-written by David Koepp and directed by Steven Soderbergh, ventures back to the psychological horror genre. Centered on a troubled family moving to the woods, the film, sadly, falls flat with aging tropes failing to elicit suspense. Clichés abound, from floating books to half-baked psychic predictions, leaving viewers more annoyed than frightened.
Despite Koepp’s notable accomplishments, Presence fails to resonate. Its lackluster screenplay proffers paltry lines, leaving actors self-evidently unfulfilled by their roles. The film’s ultimate lack of fear or thrills makes it forgettable.
On the opposite end, Jazzy, by filmmaker Morrisa Maltz, emerges as deeply engaging and personal. A continuation of narrative threads from The Unknown Country, the film follows Jazzy (Jasmine Shangreaux) as she navigates preteen life and the intricacies of friends amid ambiguous social landscapes.
Maltz’s craft shines as she captures nuances of girlhood through sweet interactions, with humor interspersed across poignant moments. Lily Gladstone reprises her role of Tana, weaving connection threads back to the original film. By depicting life on the reservation, Maltz embodies the reality of these children's experiences, making Jazzy not just entertaining but richly human.
Finally, Mrs., directed by Arati Kadav, critiques everyday patriarchy through Richa’s (Sanya Malhotra) oppressive relationship with her husband. The film’s emotional core reveals familial complicity and chronic discontent ingrained within society, depicting interaction and struggle poignantly without bittersweet resolutions.
Malhotra's performance, echoing the irrationalities of modern relationships, solidifies Mrs. as both personally and socially relevant. Although it may not reach the heights of its predecessor, it serves as a compelling comment on entrenched gender roles and the conflict women face. The film is available for streaming on Zee5.
Across thematic lines, these films reflect contemporary social commentary, rich performances, and both humor and horror, catching audiences' attention.