HIM (2025)

Studio:   Universal Pictures
Director: Justin Tipping
Writer:   Skip Bronkie, Zack Akers, Justin Tipping
Producer: Jordan Peele, Win Rosenfeld, Ian Cooper, Jamal Watson
Stars:    Marlon Wayans, Tyriq Withers, Julia Fox, Tim Heidecker, Jim Jefferies, Indira G. Wilson, Naomi Grossman

Review Score:


Summary:

A rising-star quarterback enters a dark underworld when training sessions with his idolized mentor reveal a sinister conspiracy.


Synopsis:     

Review:

As a football-obsessed little boy, Cam Cade grew up idolizing superstar quarterback Isaiah White. So much so that Cam’s father Cam Sr., a stereotypical parent unhealthily invested in his young son’s sports future, used Isaiah’s gritty performance in the USFF’s LXVII Championship to inspire Cam to be just as determined to become the next GOAT.

Dad’s dream drove Cam for the next 14 years, compelling the kid to be laser-focused on football at the expense of everything else. Cam did develop into the country’s top college prospect, but the pressure became so much to bear that he gave up the game, which devastated his dad. After Cam Sr. died in disappointment, Cam recommitted himself to fulfilling his father’s wish, and he now uses football to cope in spite of the toll it takes on his physical and mental wellbeing.

Even in death, the inescapable influence of his father continues coloring every move Cam makes. Whether he’s weeping in an interview about how dad’s encouragement pushed him or reflecting on the legacy he desperately hopes to build in Cam Sr.’s honor, the only figure looming larger in Cam’s life is Isaiah White, the celebrity athlete whose mantle Cam now hopes to inherit.

Weighing how critical his father has been and still is, it’s a decidedly bizarre move for “Him” to tell rather than show all of the above when its canvas is a visual medium. Over and over again, insults about dad’s demise are used to push Cam’s performance, or guilt him toward certain directions. Yet the only time Cam’s father is shown outside of a photograph is a single flashback in the prologue, making it incredibly difficult to recognize the significance of the man’s importance when he’s mostly referenced as a word and rarely seen on the screen.

Maybe reducing Cam Sr.’s visible role keeps the spotlight on Isaiah White as the movie’s main villain. After someone in a horned monster costume assaults him, Cam suffers a head injury that compels him to drop out of the USFF’s scouting combine. Dreams of being drafted aren’t done yet though. To Cam’s delight, he receives an unexpected invite to train with his hero Isaiah at the legend’s remote desert compound, further fueling speculation that Cam could be next in line for greatness if Isaiah’s rumored retirement happens.

That’s where things get weird for Cam. Almost immediately, a supposed sports medicine doctor played by an oddly cast Jim Jefferies starts giving Cam unknown injections. Brutal workout sessions that reward ruthless aggression become daily activities. And even though the entire experience only encompasses six days, Cam becomes unusually accustomed to the unnecessary violence and strange blood infusions in under 48 hours, even as hints of a dark conspiracy suggest his new mentor might have sinister motives.

This is also where things get weird for the audience, for entirely different reasons. “Him’s” metaphors are so on the nose, they violently smash into a viewer’s face like the fast-flying footballs launched at a willing participant’s head during one of the film’s signature scenes. Exactly what those metaphors mean, on the other hand, is a mystery not even Benoit Blanc could solve, partly because Rian Johnson’s intuitive detective wouldn’t be caught dead anywhere near such an embarrassingly trivial movie.

“Him” overstuffs itself on a religious motif that is so hammily handled, it could be served for Easter dinner. Isaiah plays for the San Antonio Saviors. Cam’s family loves them so much, they appropriate a nativity scene to create a shrine that includes bobbleheads of team mascots. When reporters surround Cam during a media day, everyone is arranged to mirror the layout of Da Vinci’s “The Last Supper” with Cam in the center seat. Scene breakdowns have Roman numeral headers. The star quarterback is considered “The Chosen One.” On and on it goes.

The parallels are easy to see. Their purposes are not. Does “Him” have anything more insightful to say about false idolatry other than a simplistic suggestion that Sunday should be reserved for worshipping Jesus instead of gridiron athletes?

Several times, CGI morphs humans into x-rayed skeletons wearing football uniforms to highlight the bone-breaking results of brutal collisions, as though expecting to surprise a viewer with the revelation that contact sports are dangerous. During a haunting vision of being swarmed by flashbulb-popping paparazzi, a piece of plastic literally suffocates Cam in another unsubtle illustration of celebrities becoming commodities. Presumably done deliberately, the team owner is never named, parroting a common criticism that sports abuse athletes for the benefit of rich old men acting as unknown puppet masters.

Reasonable minds agree these are valid criticisms worthy of discussion. But “Him” avoids contributing meaningfully to that discourse, content instead to cursorily depict common observations that are plainly obvious, without developing any depth that might prevent the accompanying horror of butchered bodies and fanatical cults from being insultingly shallow.

Summing up the movie’s “no duh” declarations: Violence as entertainment is bad. Exploitation is bad. Feverish fanaticism is bad. “Him” is also bad.

The comical pileup of empty messages is far too silly for the movie’s hollow preaching to be taken seriously. “Sports horror” has too few entries to warrant its own subgenre, but nobody has to see any other such film to believe “Him” must be the worst one in that niche.

Review Score: 25