If you wanted something original in 2024 then by gum “Cuckoo” is one of the most original horror movies of the year. It’s so original that it works to the detriment of what Tilman Singer is trying to accomplish as a statement about bodily autonomy. Much as I wanted to love “Cuckoo,” Tilman’s mix of sub-genres watches like a lazy nonsensical riff on Cronenberg’s early films by a lazy film student with none of Cronenberg’s daring or creativity. It just literally seems to throw things at the wall to see if it sticks, as many have expressed.
And what doesn’t work just lingers like a festering trail of bread crumbles leading in to this hang nail of nonsense.
Gretchen, a 17-year-old American who’s recently lost her mother is forced to move with her father (Marton Csokas), his new wife (Jessica Henwick), and their young, mute daughter (Mila Lieu) to a resort in the Bavarian Alps. Herr König runs the place and has invited the family to stay a while as he works with Gretchen’s father on his next development. From the start, though, severe shadows and chilly reflections indicate to us that this is anything but a relaxing retreat.
“Cuckoo” can’t even be considered horror, in spite of brandishing some pretty effective scares here and there. I say that because many audience members that stick it out to the finale will not be compelled to consider it a part of the horror genre. It might just even become a part of a new discussion where fans will hotly debate the merits of the whether “Cuckoo” is a part of the genre. I’m open to consider either as valid. It’s not even really entertaining, either. For all intents and purposes Hunter Schafer is very good in her role as a someone who is one part Mia Farrow, one part Naomi Watts being tormented by Michael Haneke.
I’d be remiss if I didn’t mention Dan Stevens who went from playing a daredevil adventurer in “Godzilla x Kong” to a conniving and often ridiculous scientist known as Herr König. With his thick accent and penchant for glaring over his glasses, he’s probably one of the best and more ridiculous performances of the year. Through all the delivery of trauma, and PTSD, and familial dysfunction, ”Cuckoo” forgets to ever be creative, nor does it ever construct an interesting mystery at any point. By act two it dives in to insanity, and just keeps getting deeper to where audiences will either see it to the end, or tap out before the credits roll.