PopHorror Let's Get Scared
Dealing with the horrors of losing his older foster brother to suicide, Max (Pete Davidson: Bodies Bodies Bodies 2022) has turned to a life of petty crime. After one too many run-ins with the law, Max is forced into working at a retirement home to avoid jail time. Initially, this works in Max’s favor as he enjoys interacting with the residents, such as Norma (Mary Beth Peil: Mirrors 2008) & Lou (John Glover: Scrooged 1988). Things soon start to take a sinister turn as the residents of The Home begin to act strangely and disappear. Can Max finish his community service, or will he too retire…to the afterlife? If old age doesn’t kill Max, something else will!
The Home was both written and directed by James DeMonaco (our interview), creator of The Purge (2013). DeMonaco’s influence can be felt throughout, as there’s a slickness to the overall presentation that matches the visual flair and style that made the Purge movies so endearing. Visually, DeMonaco brings bouts of chaos and violence that are both lovingly overstimulating and excessively gruesome. The script, however, is not able to match the energy of the visuals. While there’s an intrigue in the mystery that permeates the retirement community, the thematical twists and turns lead to an overall unsatisfying plot.
For a genre that lends itself to the wildest of imaginations, it seems to lack originality when it comes to the true horrors of life – aging. Considering old age and death are but a mere guarantee, it would seem that this idea is ripe for the picking, but as with most other age-based films, it sticks to the same tired and aged-out trope: Senior citizens are “scary” & “gross”. While The Home didn’t start the trend of blatant gerontophobia, it surely doesn’t buck it either.
Whether it be stunt casting or a misguided effort by the director, Davidson’s inclusion is an odd choice. The casting is contentious because Davidson lacks the charisma to lead a horror flick. His inclusion would make sense if there were a comedic element, but there isn’t much to laugh at. Eventually, he does grow on the viewer, and a hint of charm begins to show. A bit of irony is had as Max’s age is ambiguous, but Davidson is clearly in his late 20s, which clashes with the actions and attitude of a (possibly?) teenage main character.
A failure to land can tank any movie regardless of the buildup. It will forever be marred with the criticism that the ending failed to deliver on what the film promised. Despite all the goodwill the audience may have, they won’t be able to think past how the film left them feeling at the end. It cannot be understated how satisfying and surreal the ending of The Home is. The absurdity of everything that has happened before is completely eclipsed by the final 15 minutes, which confuses the audience as to whether to laugh, cheer, or recoil in disgust.
It’s up to the individual to decide whether a great ending can cancel out overall mediocrity. The Home doesn’t promise anything to the audience that they haven’t already seen, so the sheer lunacy of the conclusion makes a strong and lasting impression. The ending will absolutely either raise or lower one’s final review score.
The Home will not be spoken about generationally for containing one of the greatest moments of cinematic closure, but it will surely live on amongst horror fans for at least a few years. If one can put up with a slightly below-average film with a wildly entertaining final 15 minutes, then this is one film to seek out.
A bad ending on a great movie hampers a film, but what about a great ending on a bad film?
The Home is available to rent and own on digital platforms starting August 25, 2025.
