I cannot tell you how much I wanted to like this. Hunter Schafer, Dan Stevens, and Jessica Henwick in a NEON horror movie? Sign me up.


Unfortunately, that’s not how the world works. The movie explores nature vs. nurture to the extreme and mixes it with horror, which should be great on paper. We’ve seen it work well in the past, most recently with The First Omen. Filled with some of the largest plot holes I’ve ever seen in a movie, multiple unintentionally hilarious moments, and a terrible script, Cuckoo is an attempt to stand out from other horror movies but even with strong performances, never finds its footing and worse, its identity. 

The best part about this movie is unquestionably the cast. Considering what she had to work with, Hunter Schafer gives a fantastic performance in her first leading role. Her character is one I can personally get behind and root for as she undergoes a solid arc. Following her character through tremendous loss and being thrown into life-and-death scenarios is always good in horror and Schafer pulls off both ends of the emotional spectrum with ease. However, I’m a sucker for a good crazy performance and Dan Stevens does just that. He’s delightfully unhinged in this movie and absolutely commands your attention whenever he’s on screen. The movie is instantly better when he’s there and, that factor alone, made me like the movie more. Aside from Schafer and Stevens, there’s not much to write home about. Jessica Henwick doesn’t get much screen time, but she does a fine job nonetheless. The remaining ensemble is equally lacking in screen time, but they still serve their purpose

Visually, I love the stylistic choices director Tillman Singer makes. The film is coloured with almost pastel colors and combined with the use of film (or a film-like filter), gives it the look and feel of a home video, which I really like. Cuckoo is shot gorgeously, capturing all the beauty of the German Alps in many scenes throughout the film. The blend of old and new is what I think works best in the set design though. Although this movie could easily be set in the 70’s, the use of a cell phone and other tech in the movie reminds us that this isn’t the case. However, it’s still a very welcome aesthetic.

The writing and directing are very much hit and miss though. The direction from Singer isn’t atrocious and actually quite serviceable. The pacing is okay for the most part, even if it takes forever to get to the point of the movie (did we even get to that point?). His direction on the scenes involving the Hooded Lady, a genuinely creepy antagonist, is probably the best work in this film and his approach to building up tension is something I’m a fan of. I think that if he had the right script to go along with his direction, it would have been a MUCH better movie.

However, to be a good movie, you need a serviceable script. As I’m writing this, after sitting with Cuckoo in my mind over the weekend, I don’t even know if I can properly tell you what this movie is about in the simplest of terms. Me and my friend were confused as we watched it and even after speaking to multiple people who saw it, it seems we are not alone in this sentiment. Singer tries to salvage the story after waiting too long for the reveal, but it ends up being some poorly written exposition monologue that never even bothers to explain WHY everything is happening in the first place. It’s a baffling decision that breaks this movie down significantly. If your main audience is leaving asking what they saw, it’s a problem. So, if someone wants to use crayons and stick figures to explain this movie to me like a child, feel free because it might make more sense than whatever is in my mind right now.

Thematically, I love the very exaggerated nature vs. nurture ideas Cuckoo explores. It blurs the lines between the reality and supernatural and shows what proper resources and control in the wrong person can do, even if they decide not to explain motives or anything, you know, important. The familial themes are also deeply rooted in Cuckoo’s DNA, and the dynamic between Hunter Schaefer’s Gretchen and Mila Lieu’s Alma is endearing to watch, especially in the third act. The film also toys around with ethics and what we can do to other human beings but, like the rest of the film, it’s never fully explored, leaving me feeling empty and disappointed.

Cuckoo is, well, cuckoo. It’s got some fantastic ideas in there that are never fully explored or explained, leaving the audience with a feeling of confusion and disbelief as to what is being watched. Even strong performances from Hunter Schafer and a delightfully unhinged Dan Stevens cannot redeem this movie for me. It misses the mark and while it could be destined for midnight screenings, that shouldn’t say much about its quality.

EDITOR’S NOTE: This was seen on April 12 at the TIFF Next Wave Festival. Cuckoo will release in theatres on August 9, 2024.