UNRAVELING THE MYSTERY OF THE HOME’S DARK SECRETS: The narrative revolves around Max, a young man who uncovers the troubling secrets hidden by both the residents and caregivers of the retirement community where he has recently started working.
ANALYSIS OF THE HOME’S HORROR ELEMENTS: The premise of a nursing home naturally lends itself to a gripping horror narrative, offering numerous avenues to explore, from supernatural phenomena to the stark realities of elder abuse. The Home opts for a mystery-driven approach, highlighting the malevolent actions of the staff. The protagonist, Max (played by Pete Davidson), is a troubled foster child grappling with the aftermath of his foster brother’s tragic suicide. After engaging in vandalism—a crime that involves defacing buildings with artwork—Max is sentenced to perform his community service at a nursing home. Soon, he begins to sense that something is profoundly wrong with the residents, motivating him to intervene and rescue them from the malevolent forces at play.
PETE DAVIDSON’S PERFORMANCE AND CHARACTER DEVELOPMENT: Despite his comedic background, Pete Davidson struggles to embody the more serious elements of the film. His portrayal of Max comes across as disengaged, which contradicts the character’s supposed urgency and determination. This lack of drive makes it seem as though he is assisting the nursing home residents merely because the script dictates it. However, his interactions with Mary Beth Peil‘s character, Norma, who cautions him about the unsettling happenings within the home, provide some depth. Yet, beyond this connection, the narrative fails to create compelling stakes. Max’s character often appears inept, with revelations unfolding so slowly that they need to be explicitly communicated to him—and by extension, the audience—diminishing engagement.
JOHN GLOVER’S STANDOUT PERFORMANCE AMIDST A WEAK CAST: Approaching the film without prior knowledge of its plot, I was pleasantly surprised to see the talented John Glover cast as one of the nursing home residents. Glover has long been an underrated figure in the acting world, and he seems to revel in the chaos of this peculiar script. His character is well-developed, in stark contrast to the rest of the cast, who often appear as mere caricatures. These supporting characters seem designed solely to either disturb viewers or create a false sense of comfort, ultimately making it difficult to genuinely care about the fates of the residents or even Max himself.
THE USE OF CGI AND ITS IMPACT ON VIOLENCE IN THE HOME: The Home is punctuated by a number of violent scenes, yet a significant flaw lies in the overuse of CGI effects, which detracts from the potential impact of practical effects. The film also showcases bizarre demonic imagery that becomes increasingly nonsensical as the plot progresses. It feels as if the filmmakers are merely tossing various horror clichés at the audience, hoping that some will resonate. Despite James DeMonaco‘s extensive experience in the horror genre, this film gives the impression of a creator who may not genuinely appreciate horror, as it seems more focused on ticking boxes than crafting a cohesive narrative. This results in a rather hollow viewing experience that fails to evoke authentic fear.
UNEXPECTED CHAOS IN THE FINAL MOMENTS OF THE HOME: While the film overall struggles to redeem itself, the last ten minutes deliver a whirlwind of absurdity that significantly boosts its rewatchability. The sheer chaos and elements of karmic retribution left me with a smile, as I found myself in disbelief at the events unfolding on screen. It’s unfortunate that the preceding portions of the film failed to evoke the same exhilarating feelings. There is a glimmer of a decent film within this chaotic production, yet the delivery is so over-the-top cheesy that it ultimately lands in the realm of B-movies. As evidenced by the reactions of some viewers who walked out during the screening, this film diverges sharply from the usual offerings of Pete Davidson, generating mixed signals about its intended audience. It might appeal predominantly to those who enjoy films that are so bad they become good.
THE HOME IS SET TO HIT THEATERS ON JULY 25TH, 2025.
