Films exploring the impact of social media are becoming increasingly prevalent, yet few delve into its effects on families. “Grimcutty,” a unique horror thriller directed and written by John Ross, is a 101-minute film released on the Hulu platform. The cast includes Sara Wolfkind, Shannyn Sossamon, Usman Ali, and Callan Farris. How does this film encapsulate the societal issue?

A peculiar plague strikes a small town on the outskirts, affecting teenagers and children who use social media. They exhibit violent behavior towards their parents and themselves. Aware of this, parents restrict their children, including a teenage girl named Asha (Wolfkind). Asha becomes the target of a terrifying supernatural entity named Grimcutty, visible only to her. As Asha grapples with the imminent threat, she tries to uncover the origin of the terror plaguing her city.

While the premise is intriguing, the execution leaves much to be desired. Numerous unanswered questions linger. Where did the monster originate? It appeared without any meaningful explanation. Metaphors should have a solid foundation or, at the very least, make sense. Was it the power of the mind that conjured the demon-like figure? While cases like “The Babadook” attribute manifestations to trauma, it doesn’t logically apply on a collective scale. The script lacks the ingenuity to offer a satisfying resolution.

Despite these shortcomings, the film boasts strong performances, particularly from teen star Sara Wolfkind, who effectively portrays a teenager facing physical and psychological intimidation from both the monster and her parents. The horror scenes, especially those featuring Grimcutty, are gripping and presented with tension akin to “It Follows,” where the monster remains invisible to others. Technically, the filmmaker adeptly supports the suspense and mystery aspects.

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The premise, exploring the impact of social media on families, is engaging, but “Grimcutty” struggles with its plot coherence. Unlike other films with a similar theme targeting the millennial generation, this film turns its focus on parents. The monster embodies the fear and anxiety parents feel towards their children, gaining strength with increased tension. The solution is straightforward: communication. However, the film is too overt in expressing its opinion.

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PENILAIAN KAMI
Overall
60 %
Artikel SebelumnyaFrance (Festival Sinema Perancis)
Artikel BerikutnyaA Radiant Girl (Festival Sinema Prancis)
His hobby has been watching films since childhood, and he studied film theory and history autodidactically after graduating from architectural studies. He started writing articles and reviewing films in 2006. Due to his experience, the author was drawn to become a teaching staff at the private Television and Film Academy in Yogyakarta, where he taught Film History, Introduction to Film Art, and Film Theory from 2003 to 2019. His debut film book, "Understanding Film," was published in 2008, which divides film art into narrative and cinematic elements. The second edition of the book, "Understanding Film," was published in 2018. This book has become a favorite reference for film and communication academics throughout Indonesia. He was also involved in writing the Montase Film Bulletin Compilation Book Vol. 1-3 and "30 Best Selling Indonesian Films 2012-2018." Additionally, he authored the "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). Until now, he continues to write reviews of the latest films at montasefilm.com and is actively involved in all film productions at the Montase Film Community. His short films have received high appreciation at many festivals, both local and international. Recently, his writing was included in the shortlist (top 15) of Best Film Criticism at the 2022 Indonesian Film Festival. From 2022 until now, he has also been a practitioner-lecturer for the Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts in the Independent Practitioner Program.

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