December 14, 2023 | ARTS AND ENTERTAINMENT | By Adriana Kyncl
I recently watched “Thanksgiving” on my 21st birthday, admittedly after a few drinks at Roadhouse Cinemas. However, my thoughts on the film remain clear and unaffected.
“Thanksgiving,” directed by Eli Roth, showcases a notable cast including Patrick Dempsey and Addison Rae. The film is a campy slasher set in Plymouth, Massachusetts, and it revolves around an axe-wielding maniac’s rampage following a tragic Black Friday riot.
The film opens with a strong, impactful scene that vividly recalls the chaotic Black Friday sales of the early 2000s. This era was notorious for its frenzied consumerism and often dangerous situations, with reports of trampling and extreme aggression over sale items. Roth’s depiction of this chaos serves as an effective and dark lens on societal greed and the devaluation of human life in the face of materialism. This approach initially positions the movie as more than just a slasher, which I personally thought was incredibly interesting.
However, as the narrative unfolds, “Thanksgiving,” seems to lose its footing. The film’s early promise as a sharp social critique gives way to a more traditional slasher movie structure, complete with excessive gore and a leaning towards the absurd. This tonal shift, while perhaps aiming for shock value, unfortunately undermines the film’s initial impact.
The horror elements, which should be the film’s backbone, become overshadowed by their own over-the-top nature. This is in stark contrast to new films like “Saw X,” where the horror is consistently disturbing, leaving viewers in a state of unease.
Another challenge with “Thanksgiving” lies in its character development, or rather, the lack thereof. With a sprawling cast, the film struggles to provide enough depth to its characters, making it difficult for the audience to form a meaningful connection with them. In a successful horror film, empathy for the characters enhances the fear and suspense, as the audience becomes emotionally invested in their survival. Here, however, the characters felt underdeveloped and interchangeable, weakening the overall emotional impact of their fates.
The film does present a notable twist with Dempsey’s character, a detective, being revealed as the killer. This revelation has the potential for a compelling narrative turn, yet Dempsey’s portrayal doesn’t quite deliver the menacing aura required for such a dark role. This could be attributed to his previous typecasting in more charming roles, (and my obsession with Grey’s Anatomy), making his villainy less convincing.
In conclusion, “Thanksgiving” is a film that grapples with its identity, teetering between a social commentary and a traditional horror slasher. Should you rush to the theaters to watch it? Probably not. It’s an entertaining piece, but it misses the mark in terms of leaving a lasting impact or delivering a cohesive message.