HIM (2025)

"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.

While the film itself is guided this time out by writer/director Justin Tipping, with Peele serving as the producer, there is simply NO denying Peele's presence looming in the background and in all we are witness to as the narrative unfolds. It is focused on the arena of professional football, a young quarterback phenom Cam (Tyriq Withers), his idol Isaiah (Marlon Wayans) whom he gains access to train with, and the utter de-evolution of all elements associated with the grooming, driving ambition, overt competition, mental and physical trials, and striving for greatness...and possibly selling your soul...that's thrust upon players, old and new.

Alright, let's talk about Him. I went in ready for a wild ride, but I have to be honest—this sleek, stylish thriller left me feeling a bit cold. Imagine a movie that’s all muscle and no heart: a stunning, sun-bleached nightmare of concrete hallways, ritualistic workouts, and desert vistas that somehow manages to be… well, kinda repetitive.The setup is fantastic. Rising football star Cameron Cade (the promising Tyriq Withers) gets a dream invite to train with his literal idol, the legendary QB Isaiah White (Marlon Wayans), at his super-secret, super-swanky desert compound. It should be heaven! But it quickly starts feeling more like a cult.

Think less Rocky montage, more get-the-holy-water because these pep talks sound like sermons and the "training" involves a lot of ominous injections. The problem is, the audience figures out the sinister vibe about ten minutes in, and then we spend the next hour just waiting for Cameron to catch up. It’s like watching someone slowly realize their house is on fire while you’re screaming from the sidewalk.Now, don’t get me wrong—the movie is a feast for the eyes. Kira Kelly’s cinematography is razor-sharp, and they use these incredible "x-ray" impact shots every time someone gets hit that’ll make you wince. The whole aesthetic is so cool it almost tricks you into thinking something deeply cool is happening.