| Universal Pictures | Release Date: March 13, 2020 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
15
Mixed:
21
Negative:
9
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Critic Reviews
Mar 11, 2020
Director Zobel and writers Lindelof and Cuse, peering through the lens of social media hijinks and polarized politics, paint a ridiculous picture of how we’re all eating ourselves alive. That they do so in such a fun and absurdly bloody way makes The Hunt worth a retweet at the very least.
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Mar 11, 2020
Scoff, roll your eyes, and shrug all you want, but the hyperbolic nature of The Hunt is all part of the fun, and whether you take this literally, or metaphorically, rhetorically, spiritually, whatever, it all boils down to a big ol’ sensationalized portrait of a very heated country.
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IndieWireMar 11, 2020
Combining the droll self-satisfaction of a New Yorker cartoon with the wet gore of an Eli Roth movie, Zobel’s tense, well-crafted, and deviant grindhouse take on the national temperature has no trouble caricaturing what ails us, but even that fun combo lacks the killer instinct required to see us more clearly than we see each other.
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Mar 12, 2020
The most shocking part of this too-shocking-for-audiences-today production is that Cuse and Lindelof are even involved, given the far smarter and sharper work they did last year on HBO’s "Watchmen," which took the carcass of U.S. politics and thoroughly eviscerated it in a new and startling fashion.
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Mar 12, 2020
The Hunt occupies a special place in the chockablock landscape of movie junk. This gleeful, gross-out gorefest looks as tacky and violent as its trackdown plot would suggest, and lives up to certain parts of its bad reputation. It is also funny, genuinely topical, extremely shrewd and, heaven help us, slyly wise. I liked it quite a lot.
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Mar 12, 2020
Rage — shared by characters on both sides, even as they direct it at each other — is what “The Hunt” is all about. Anger is the source of its humor and its horror, both of which are fairly effective. The fights and shootouts are brisk and brutal. The dialogue pops with inventive profanity and familiar varieties of name-calling and woke-speak.
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PolygonMar 11, 2020
The movie’s mock-jaundiced attitude toward social media is itself satirical, and there’s a germ of a funny idea about how principled liberals can get entangled in pointless social media battles and infighting. But it’s eclipsed by an unavoidably moneyed perspective that presumes privileged people are inherently liberal, rather than attacking the hypocrisy of rich liberals in particular.
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Mar 11, 2020
The GuardianMar 11, 2020
In making the worst stereotypes of America’s political poles as extreme as possible, and America’s divide as literal and violent as possible, The Hunt feigns a viewpoint rather than actually having one. It takes aim at everyone, redeeming no one. Which feels circular, and queasy, and right back where we started: some empty talk about a divided nation, and a film thats probably not worth this much conversation.
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The Film StageMar 11, 2020
It’s the kind of escapist action film and politically-tinged revenge tale that could actually spark a discussion rather than the reaction one has after walking out of The Hunt: stunned silence at how filmmakers could so severely botch a satire in a moment when there is plenty of material to mine from. If nothing else, at least it is mercifully short.
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Mar 11, 2020
The biggest problem with The Hunt is its phenomenally lazy script, which is by Damon Lindelof and his frequent collaborator Nick Cuse. (Booting the movie into the next year prevented Lindelof, who created HBO’s Watchmen, from having his name on one of 2019’s smartest entertainments and one of its dumbest.)
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Mar 11, 2020
A movie straining so hard to be edgily of-the-moment that it can’t help but be utterly irrelevant, strives to impress viewers with sadistic killings, oozing viscera and extravagant gushers of blood. But its most dramatic spectacle might be the sight of a facile, lazy enterprise being hoist on its own cynical petard.
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