Bad Things

It's easy to dismiss Bad Things as the queer version of The Shining but initially, at least, there are a few ideas worth appreciating here. This should ideally have been centered around Gayle Rankin's Ruthie.. and her trauma, manifestations, and slow descent into absolute chaos. Instead, writer-director Stewart Thorndike randomly shifts perspectives (especially when things begin to get interesting) to the other characters, taking us out of the one-woman-breakdown thread, and desperately trying to blur the lines between what's real and what's not. The entire episode then feels like a pointless exercise in the end, mostly because the perspective then transitions back to Ruthie's and we once again witness her losing her mind.

Also, the scenes that were supposed to induce a creepy feeling absolutely fail to do so. The shots of random people showing up at the restaurant, at the facade, and elsewhere, are laughably executed. If the hotel and its snowy surroundings had terrible history, then we ought to have known that because that'd have added to the atmospherics. I did like how the story incorporated Molly Ringwald's character into the film, and while not a surprise, it's nicely woven into the proceedings. When it comes to performances, I think the cast did a fairly decent job. That's one reason why the film is perfectly okay to sit through, even when it fails on the narrative and horror-inducing fronts.

The actors in this movie made you believe in their characters. Their actions, reactions, and incidental chatter sounded like people really talk.

Unfortunately that's the only nice thing I can say about this movie. The setting and setup is great... if Stephen King hadn't thought of it half a century ago. The direction is uneven, sprinkling a few interesting scenes into an hour-and-a-half of ennui. And the writing.... Four characters that I cared nothing about, trying to survive, or not, whatever. This movie-other than the actors-came across like the product of a high school English assignment from an ineffective teacher: "Write a new ending for 'The Shining.' And remember, if less is more, then nothing must be everything!"

If this little gem is any indication, Shudder seems to have switched from producing horror films to producing horrific ones. The meager attempts to be scary in this script are bits lifted from other movies. Unfortunately these bits are so poorly directed they only serve to stir up unfavorable comparisons to the originals they were heisted from. Instead of the spooky little girls of The Shining, the hall of this film's hotel is haunted by two lithe young women jogging in place, looking like rejects from a failed aerobics program. Texas Chainsaw Massacre is also represented, and for more than one reason I wish the chainsaw wielding actor was wearing a mask like Leatherface.

Production values are rock bottom. A potentially creepy location is completely wasted on the milksop screenplay. Why there's a "production designer" listed in the credits is a total head scratcher. I would love to know what exactly they did to transform what appears to be a recently vacated hotel into what appears to be a recently vacated hotel. But maybe I'm wrong. Despite one character describing the place as "the Four Seasons of the 80s" it looks more like a Target shopping center converted into a Holiday Inn.

The costumes are a mixed bag ranging from ridiculous to hot. In one scene an actress appears wearing what can only be described as a clown gown ripped straight from the pages of a Zippy the Pinhead comic book. Earlier in the film we're treated to the same trans actress prancing through the halls in her underpants. We also get Molly Ringwold in a scorching red ensemble, looking absolutely delicious for a woman of any age.

If you're a fan of Shudder's agenda, which puts more emphasis on promoting progressive social values than providing scares, you might enjoy this tale of young LGBTQ+ lovers and friends wasting time in an empty hotel. Just sprinkle some No-Doz on yiour popcorn.

This is such an interesting film.

At first, I wasn't super into it.

But, once the paranoia set in...it had won me over.

The story revolves around a big city lesbian- named Ruthie- who has inherited her grandmother's rural hotel, and brought her closest friends to check it out, before she sells it.

Ultimately, the whole thing is a psychological horror.

But it's not exactly clear that such is the case, right from the beginning.

Which is what has left many other reviewers confused, I suspect.

Because things definitely get weird.

To the point where you question whether any of what you are watching is actually real.

What is clear, however, is that all the characters become paranoid, for different reasons, at different points in the film.

And that someone is attacking people.

It's just hard to pin down exactly who that is.

Making it all quite Lynchian in nature.

Up until the point that things do actually become clear, in the end.

Where the film takes on a bit of an Argento vibe.

With an aura of extreme paranoia, induced by severe childhood trauma.

And the strained relationships you experience in life as a result of this.

No doubt, it's a bit of a confounding- and rather weird- experience.

But it is actually quite a cleverly constructed film.

That you could easily place in the company of films like Vertigo; Beau Is Afraid; and Raoul Ruiz's epic psychological masterpiece, Le Territoire.

Just...not quite on the same level of those films.

You might be inclined to pair it with other, recent, lesbian oriented horrors, like Jagged Mind, and My Animal, from this year, as well.

Which would make for an interesting marathon.

Because, in the end...once you let it simmer, and come to fruition...there's really nothing not to love about this film.

It may be a bit of a slow burner...and have a pretty bizarre plot.

But it's actually kind of a sleeper hit, in my opinion.

So it get's my seal of approval.

And emphatic recommendation.

Don't let the haters make you pass this one by.

Because, while it may not be for everyone...it's most definitely worth a watch.

6.5 out of 10.

Bad Things might just be the worse film I've seen all year, 2023. I don't think the makers of this film have the basic knowledge of how to make any film and certainly not a horror film.

The central characters' friendship and intersecting romantic relationships, which are meant to be the film's grounding center, are described as having flimsy connections and dead air. The performances lacking chemistry and genuine feeling, leaving the film lacking emotional investment. The acting performances were abysmal.

It looks like they were striving for something along the lines of The Shining since it draws a lot of its inspiration from the Kubrick film. But they failed miserably.