Writer-director Craig Johnson broke out with 2014’s spiky comedy dramaThe Skeleton Twins, a film that hit familiar Sundance indie beats but hit them better than most. He has struggled a little since, from annoying Woody Harrelson-led comedyWilsonto ho-hum gay high school romanceAlex Strangelove, and so one can understand why Johnson might feel like a big swing in a different direction might make most sense.Novocaine review – throwaway one-joke action comedy brings the painRead moreIt has led him to a script by Saturday Night Live writer Kent Sublette called The Parenting, a throwback supernatural comedy horror that tries to remind us of a time when these rambunctious concoctions were far more common. Think Beetlejuice in the 80s or The Frighteners in the 90s or the deeply underratedHouseboundmore recently, a high-energy rush of scares and laughs that should feel effortless but too often doesn’t, the difficulty of such a balance perhaps serving to explain why so few are made these days. It might also explain why backers New Line didn’t quite know what to do with this one, the film gathering dust on the shelf for almost three years and now landing on Max with a suitably concerning trailer released less than two weeks prior.Said trailer ended up being an accurate representation of a film which starts off as an amiable comedy before going completely off the rails when it becomes a horror. It’s a shame as when the stakes are low and the genre more defined, there’s some fun to be had from the Meet the Parents adjacent set-up. It’s familiar sitcom territory – potential in-laws meeting potential in-laws for the first time – but centered on a gay couple instead, providing an added and less well-explored specificity. Rohan (Nik Dodani) and Josh (Brandon Flynn) have planned a weekend away, renting out a large, remote country house so their families can meet. Rohan’s adoptive parents are rich and a little snobbish (Edie FalcoandBrian Cox) while Josh’s are more working class and unrefined (Lisa Kudrowand Dean Norris).The initial escalation of tension – misunderstood names, inappropriate jokes, an overly amorous dog – edges from amusing to genuinely funny thanks to a cast blessed with a wealth of comedy experience. But as pleasing as it is to see pros like Falco and Kudrow engage in passive-aggressive sparring, it’s also a nice surprise to see how well Flynn handles himself, an actor whose limited credits have been almost entirely dramatic up until now. He is a remarkably light-footed comedian, bringing as many laughs as his older co-stars, even if he is lumped with modern comedy’s most exasperatingly overused cliche: the dreaded weed gummies. A plea to all screenwriters going forward: continue brainstorming if this is what you’ve come up with.What’s frustrating is that there could have been a broad yet funny, character-based comedy here if things had remained of this world. But as soon as a demon enters the picture, summoned by a wifi password and entering the body of Cox’s no-nonsense dad, things start to disintegrate. The standard of jokes takes a sharp nosedive, as puerile lowbrow farce replaces relatably awkward humour, and even a game cast struggles to handle the silliness of it, grimly trying to make fart and dick jokes work. As things get goofier, the only actor able to truly sell any of it is Parker Posey, playing the owner of the house whose presence becomes a saving grace, the actor able to turn the slightest of movements or pronunciations into a laugh-out-loud moment.But while she is able to swiftly identify and nail the exact right tone, everyone else starts to scramble. As a comedy, it stops being funny and as a horror it never starts being scary with Johnson’s direction far too drab and lifeless for something so cartoonish and schlocky. Big swing, bigger miss.The Parenting is now available on Max in the US, Binge in Australia and in the UK at a later date
The Parenting review – supernatural caper is a so-so comedy and a lousy horror
TruthLens AI Suggested Headline:
"The Parenting: A Supernatural Comedy-Horror That Fails to Deliver"
The Guardian
6.0
TruthLens AI Summary
Craig Johnson, the writer-director known for his previous work on 'The Skeleton Twins,' attempts to revive the supernatural comedy horror genre with his latest film, 'The Parenting.' This movie, co-written by Saturday Night Live's Kent Sublette, aims to evoke memories of classic films like 'Beetlejuice' and 'The Frighteners.' However, despite its promising premise, the film has faced numerous challenges, including a lengthy delay before its release on Max. The story revolves around a gay couple, Rohan and Josh, who invite their families to a remote country house to meet each other. The initial interactions between the families, featuring well-known actors like Edie Falco and Lisa Kudrow, provide an engaging mix of humor and tension, showcasing the potential for a character-driven comedy. Rohan's wealthy, snobbish adoptive parents clash with Josh's working-class family, leading to amusing misunderstandings and awkward situations that highlight the film's comedic strengths.
However, as the narrative progresses, the film takes a sharp turn into horror, which ultimately undermines its comedic foundation. The introduction of a demon—summoned through a wifi password and possessing Josh's father—shifts the tone dramatically, leading to a decline in the quality of humor. The film attempts to blend farcical elements with horror, but fails to deliver on both fronts. While Parker Posey's performance as the house owner provides some moments of levity, the overall direction lacks the vitality needed for such a genre mashup. As a result, 'The Parenting' struggles to find its footing, oscillating between being an unfunny comedy and a horror that fails to evoke genuine fear. Johnson's ambitious effort ultimately results in a film that misses the mark, leaving audiences wanting a more cohesive and engaging experience.
TruthLens AI Analysis
The review of "The Parenting" provides a critical perspective on the film's attempt to blend comedy and horror, reflecting on the broader trends in the genre. The author outlines the director's previous struggles and the film's long wait for release, hinting at industry challenges that may have contributed to its lackluster reception.
Purpose of the Article
This review aims to inform readers about the film's shortcomings, particularly its failure to effectively balance comedy and horror. By providing a detailed account of the film's premise and execution, the article seeks to guide potential viewers on what to expect, ultimately serving as a cautionary tale about the film's quality.
Perception Creation
Through its critique, the article fosters skepticism about the film, suggesting that it is not only mediocre but also indicative of a broader decline in quality within the genre. By referencing classic films, the review implicitly argues that "The Parenting" fails to live up to its predecessors, encouraging readers to view it with a critical eye.
Hidden Agendas
There don't appear to be any overt hidden agendas in the article, but the critique may be colored by the author's personal biases against the film’s execution or direction. The emphasis on its flaws could reflect a broader commentary on the state of contemporary cinema, specifically in the horror-comedy genre.
Manipulative Elements
The review could be seen as somewhat manipulative in its strong negative tone, potentially swaying audience expectations before they have a chance to watch the film. The language used to describe the film's shortcomings, such as “lousy horror,” suggests a deliberate effort to shape public perception.
Truthfulness of the Content
The review appears to be grounded in the author's subjective experience of the film, which means it may not resonate universally. However, it does provide specific examples and comparisons to other works, which lends some credibility to the critique.
Societal Implications
Given the film's focus on a gay couple navigating family dynamics, the review touches on themes of representation in media. While it critiques the film, it also highlights the importance of diverse narratives within mainstream cinema, which could resonate positively with LGBTQ+ audiences and advocates.
Audience Targeting
The review is likely to appeal to cinephiles and critics who appreciate horror-comedy hybrids, as well as audiences interested in LGBTQ+ stories. By emphasizing the film's representation of a gay couple, the article reaches out to communities seeking diverse narratives in film.
Market Impact
While the immediate financial impact on the stock market or investors may be limited, the review could influence audience turnout and reception, potentially affecting the film's box office performance. Films with strong critical reception often see better financial outcomes, and negative reviews can deter viewership.
Geopolitical Relevance
There are no direct geopolitical implications in the review; however, the themes of family dynamics and representation can resonate in broader societal discussions, particularly in the context of ongoing conversations about LGBTQ+ rights and visibility in media.
AI Involvement
It's possible that AI tools were utilized in the creation of this review, particularly in analyzing trends or generating initial drafts. However, the personal tone and subjective critique suggest significant human input. If AI was involved, it might have helped structure the article or provided background context.
Manipulative Aspects
The review's use of strong language and critical framing could be considered manipulative, as it aims to shape the audience's expectations and opinions about the film before they see it. The discussion of the film's failure to meet genre expectations could lead to a preconceived negativity toward the film. The overall reliability of the article hinges on the subjective nature of movie reviews; it reflects one critic's opinion rather than an objective assessment. The insights provided are valuable, but potential viewers should consider multiple perspectives before forming their own opinions.