So-called “elevated horror” has been all the craze over the last decade, telling genre stories through a new lens that can come across pretentious just as often as unique. NEON’s newest feature, Cuckoo, falls decidedly somewhere in the middle. The acting performances—especially from lead Euphoria starlet Hunter Schafer—are captivating, whilst the cinematography and style remain slick and creepy throughout. However, from a scripting level, the lack of substance and a frustrating final act fail to live up to the potential promised by a terrific setup. There are far worse horror films this year, but Cuckoo somehow squanders a riveting turn from Schafer and a freaky baddie by way of its hollow script.
Set in the Bavarian Alps of Germany at a standard resort, we follow Gretchen (Schafer) as she heads into Europe to stay with her father’s family after the untimely death of her mother. The setup lets us get acquainted with Gretchen, as we judge her new surroundings alongside her. Mr. Konig (Dan Stevens, The Guest, Abigail) seems to run the operation, extending an invite for Gretchen to come work at his guest lodge. It does not take long for the strange and unusual to physically strike Gretchen—on one of her first nights, a coworker leaves Gretchen alone to lock up. Despite persistent calls from Konig, who still lives at the property on a secluded villa, Gretchen casually locks up and hops on her bike to head back to her father’s place. A crazy hooded blonde woman with a wild jaw chases after her, eventually cornering Gretchen outside a hospital. In her efforts to escape, Gretchen bangs her head on the glass, and later, no one will believe her about the mysterious female pursuer.
The movie’s mythology demands viewers to constantly question what strangeness unfolds deep in the Alps. Is Gretchen seeing a person or creature that does not actually exist? Why does her stepsister begin having worrying seizures, not dissimilar to a writhing woman glimpsed in the opening scene? What are Mr. Konig’s intentions with Gretchen and her family? Why will no one believe Gretchen? While we do receive mild answers to the majority of these questions, one would hesitate to call any of them even remotely satisfying. Cuckoo is far more interested in creative visuals and searing sound design than in crafting a memorable narrative.
An ensemble cast do their best to do the heavy lifting that the script refuses, particularly with Schafer as badass Gretchen. Gretchen ends up being the sole character to receive any form of depth, and certainly she would be rather one-dimensional without Schafer’s assured performance. Dan Stevens doing a German accent weirdly fits, and sits nicely alongside his recent performance in Abigail. As Gretchen’s father and stepmother respectively, Jessica Henwick (Game of Thrones, The Matrix: Resurrections) and Marton Csokas (Abraham Lincoln: Vampire Hunter, The Lord of the Rings) are given very little to do. Kalin Morrow’s “Hooded Woman” somewhat steals the show, lurking around every corner and framed in shots similar to Jurassic Park‘s raptors.
Although it never comes together cohesively, Cuckoo still manages to deliver a few thrills and chills. Writer/director Tilman Singer’s vision announces him as a filmmaker to look out for in the near future, despite his ideas needing some serious recalibration. I could not help but feel disappointed in the end at the disjointed nature. Wasted potential is always upsetting, especially when it takes the form of a hugely anticipated horror release from a typically reliable studio (see: Immaculate, Possessor, Infinity Pool, The Lodge, and many others.) Cuckoo may still be worth a gander for Hunter Schafer’s vulnerable approach to Gretchen; otherwise, this frequency feels out of tune with its intentions.
Cuckoo screened at 2024’s Fantasia International Film Festival, and unleashes its call exclusively in theaters on Friday, August 9th.
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