Not quite softcore exploitation horror but not quite a rallying feminist cry either, Sam Levinson’s femme-fatale-led piece fails to pull out all the stops as promised – mostly because it doesn’t seem to know where the stops are in the first place.
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True to its tagline, John Ajvide Lindqvist’s new screenplay is indeed “a love story unlike any other” in certain senses – but on the other side of the coin, it is a wholly predictable and often misguided whodunit thriller just like every other.
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Too many cooks spoil the broth, and so do too many clichés – May The Devil Take You is brilliant on occasion, but mostly plays out as an inane, muddled collection of multicultural jumpscare ideas connected by a thinly-drawn plot.
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Loaded with enough intrigue to make you think yourself into a corner, School’s Out ramps up the dread at every turn, up to its (literally) explosive climax.
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Carey Mulligan and Ed Oxenbould gamely shoulder the hefty emotional weight of Paul Dano’s directorial debut, supported by an underused but nonetheless brilliant Jake Gyllenhaal.
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