Thanksgiving (2023) Horror Movie Review

Roth's "Thanksgiving" stands out from the typical horror movie crowd. It avoids the jump-scare intensity of Blumhouse productions and the sophisticated storytelling seen in A24-esque elevated horror. Instead, it embraces the pure nastiness reminiscent of '80s films like "Mother’s Day," "Graduation Day," and "New Year’s Evil," with a classic vibe rather than a modern mainstream approach.

Just in time for the holidays, Roth and writer Jeff Rendell bring us a mix of horror and comedy in "Thanksgiving." The film kicks off with a chaotic Black Friday sale (on Thursday night, because why wait?). In a display of expert timing, Roth builds tension as a frenzied mob storms the Right Mart department store, reminiscent of a desperate scramble for apocalypse supplies. "Thanksgiving" takes satirical jabs at the real meaning of "Black Friday," portraying a blood-splattered battleground where people painfully perish for the sake of free waffle irons. It's a thrilling and darkly comedic ride that lives up to Roth's original promise.

Despite a large cast, "Thanksgiving" efficiently introduces potential victims, making you care about them. The script by Jeff Rendell (a "2023 reboot" of the trailer) includes humorous jabs at high schoolers and social media, adding a light touch without reducing characters to mere targets. Similar to "Scream," there's a relatability to characters like Jessica and her friends, making the killer's actions more chilling. The John Carver killer, representing colonialism and misguided tradition, adds a creepy element to the movie's violence, making it both clever and disturbing.

In "Thanksgiving," there's only one significant jump scare, but it's effective because the movie focuses more on well-timed moments. Eli Roth's film balances impressive, over-the-top kills, creating a rollercoaster of horror and comedy. However, in the final third, the film pushes the limits of sadistic content, risking a disruption in pacing. The survival game loses some fun when it feels like the director is cheering for the killer. The movie becomes a bit scattered in trying to tie its elements together, with the juicy reveal presented in a surprisingly clunky manner.

After a 16-year wait, "Thanksgiving" could be the fresh jolt that studio horror needs, moving away from the supernatural and serious themes. The film has the potential to revive the slasher genre at just the right time. Engineered for audience engagement, especially for Massachusetts viewers, the film includes nods to towns like Methuen and local spots like Papa Gino’s. It carries the constant energy and personal touch of a passion project. While it might not be labeled as Eli Roth's best film, "Thanksgiving" confidently asserts that when he moves beyond a pile of guts in his script, Roth proves to be an entertaining filmmaker.