They/Them – A Missed Opportunity At Something More

It’s easy to see what Blumhouse was thinking when greenlighting this because on paper, the film boasts an interesting concept to explore if given the proper perspective along with time to develop its characters and plot all while attempting to land an overarching message that neatly wraps up the prospect of hope before the last frame. Although in this case, something went missing along the way, or better yet, was rushed. They/Them approaches the subject of “normalized” practices that when examined more closely resemble true-life horror that is uncomfortable and scary but quickly blinks when realizing this in an effort to move on to the next scene.

They/Them centers around a group of teenagers attending an LGBTQ+ conversion camp while it is being shadowed by a masked killer. As the teens are exposed to various therapy techniques and discussions surrounding their chosen lifestyles or transitions, people begin to disappear leaving them to discover a more sinister truth that lies just below the camp’s surface. And while this might sound interesting as a concept, that is primarily where anything of note surrounding this film stops.

Blumhouse has built a reputation on producing horror films that can range anywhere from simplistic schlock and money grabs to insightful psycho-thrillers and more, but what is most baffling with this film is how little effort and care is given to its script to better capitalize on an opportunity to tread where no other horror film has dared to go. Ultimately, it’s this misstep makes for its largest insurmountable hurdle that prevents the film from truly providing a message of worth or importance. Thankfully, no corners were cut in terms of representation and at varying points over the course of the film as it offered several strategically placed monologues that helped hammer home some very real and poignant struggles that occur in the real world. However, they come at the cost of feeling forced or in many cases, cheesy in their timing and delivery.

And then there’s still the masked killer…

Their constant presence throughout the film adds a twinge of enjoyment as staff members are eliminated in wonderful fashion, but the viewer constantly is left wondering how all of the puzzle pieces will connect until they finally do to which the immediate response is slight surprise followed by indifference just before the credits roll allowing no time for any emotional impact to form instead giving the perception of a rushed narrative ending.

Two positives from They/Them come by way of its solid cast which is bolstered by Bacon, Chlumsky, and Preston as Owen, Molly, and Cora but truly shines through its teens with Theo Germaine’s Jordan as its lead. The former’s calmness as Jordan in the face of such controversial tactics creates an unease throughout the film that helps support the horror element of the project in a clever subtle way. The second positive is through the its concluding message of identity positivity with its central cast. Throughout the film, they have expressed their respective conflicts facing them in their worlds and while the film’s conclusion is both rushed and paper-thin, one can appreciate the positive mental place that each character was allowed to find before the end credits, offering each both self-confidence and hope.

In the end, They/Them could’ve been something special that pushed the boundaries of horror into an unexplored and interesting place all while committing to a message surrounding a major issue. Instead, Blumhouse appeared to have taken the easy route in producing a film that is never quite comfortable in its selected genre. There might be a larger metaphor here, but if so, it is merely another missed opportunity.

still courtesy of Blumhouse Productions

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Trying my best to get all thoughts about TV and Film out of my head and onto the interweb.