Barbarian Review - Airbnb Hell
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With Zach Cregger's second feature film Weapons taking the number one spot at the domestic box office, it's inevitable many will be revisiting his directorial debut Barbarian to score their next terror fix.
Released in 2022 to a warm reception by critics and audiences alike, the production put Cregger on the map as an up-and-coming horror director (a role far removed from his comedy background) and established his prowess in the art of filmmaking.
Barbarian follows a likeable but oftentimes foolish protagonist in the form of Tess (played convincingly and emotionally by Georgina Campbell). We are introduced to her in a state of uncertainty as she finds the rental home she's trying to enter is double-booked. Odds seem to be stacked against her: the weather, a lack of available hotels and the seediness of the Detroit neighbourhood forcing Tess into the company of the suspiciously understanding Keith (Bill Skarsgård). What comes next is a first act filled with tension and intrigue, the audience asked to dissect every interaction, picking apart words or gestures which may appear inauthentic as we're locked in a ticking time bomb housed between four claustrophobic walls.
The mistrust of fellow dweller Keith is palpable and understandably so, Tess taking a picture of his ID and refusing to drink tea he's prepared away from her presence - a telling sign of the danger women face in unknown male company. Cregger handles this topic with a sense of sincerity, the acts never feeling performative but instead a very truthful depiction of the female experience.
With such a well thought out introduction the production's unexpected direction unfortunately disappoints. A protagonist which was once fleshed out and responsible resorts to mindless actions to support the growing ludicrousness of the plot, making decisions which defy any semblance of logic. This absurdity soon spreads to the rest of the story as the reveal of a grotesque ‘monster’ causes the film to lose all tension, instead resorting to cheap jump scares which lack the source material to make them remotely shocking.
The moment in which the film nosedives can be pinpointed to the introduction of AJ (Justin Long), a man whose career is in ruins due to a serious allegation regarding his sexual activities. Instead of exploring the heinous acts committed by powerful male figures, Cregger instead chooses to make AJ a caricature filled with cheap one-liners and over-the-top obnoxiousness. His constant derogatory use of the word ‘bitch’ demonstrates a failed attempt at black comedy and instead comes across as distasteful and crude.
It is unclear through this writing whether Cregger is trying to make a statement regarding the #MeToo movement or instead feeding into the audience perception of how a predator acts. Either way it lacks the refinement needed to make the production truly insightful.
What could have been a fresh take on the genre regresses into a B-grade horror film reminiscent of the likes of Tusk, with little substance and far-fetched ideas which can't justify their existence. This wouldn't feel like such a crime if it weren't for the skillful construction of the film’s first segment. Instead Zach Cregger wastes the potential of a talented cast and intriguing premise, creating a piece which slowly loses momentum and the grip on its viewer with each tacky line and eye-rolling decision.
Barbarian falls apart when too much is revealed and makes the mistake of treating its audience like a child, resulting in a tonally confused and empty watch.
