Antlers Review

Antlers, the new supernatural horror film from director Scott Cooper (who also co-wrote the script along with C. Henry Chaisson and Nick Antosca – whose short story “The Quiet Boy” was the basis of the plot) is gorgeously directed, filmed, and acted. Unfortunately, the film’s script fails to ascend to the heights of the rest of its make up, turning what could be an interesting, complex horror tale into a middling, run-of-the-mill story.

The always excellent Keri Russell stars as Julia, a middle school teacher in a small Oregon town. Having returned after years away – she was horribly abused by her father, something that receives references throughout the film, but which is never fleshed out in full, and left town the first chance she got – she’s living with her brother, Paul (Jesse Plemons, who does a lot with very little in the role), the local town sheriff. Julia takes notice of Lucas (newcomer Jeremy T. Thomas, who is sensational at walking the line between defiant and terrified), a boy in one of her classes who is withdrawn, starving, and drawing troublingly dark pictures. As a survivor of abuse, Julia is quick to notice the signs and wants to help Lucas. Unfortunately for Lucas (and Julia, and pretty much everyone in town), Frank, Lucas’s father – a known meth cook and all-around crummy guy – has been infected by something, and is turning into something beyond anyone’s understanding.

Well, that’s not quite true – the story attempts to thread the transition of Frank from human to other-worldly creature into Native American mythology (you can spot this move coming from the opening scenes of the film, as our introduction to Julia is her teaching her class about myths and fairy tales). This short-sighted narrative choice doesn’t quite work, as the revelation of just what Frank is supposed to be lacks any sort of foundation within the film until the token Native American character explains everything to Julia and Paul (awfully kind of him). And that surface level plotting is found throughout the story. We know precious little about any of the characters outside of the key points that allow us to classify them. Julia is a survivor of abuse. Lucas is a young boy desperate for someone to love him – and who desperately wants to protect not only his father but his little brother who gets messed up in everything. Paul is the good cop – who also suffered at the hands of his horrible father. The character development doesn’t go any deeper. We understand why the adults want to save Lucas, but we don’t get a sense of who they are in the greater world. It’s really disappointing, because when you have actors like Russell and Plemons, who can genuinely carry a story on their backs, you need to use them to their fullest potential.

As for the narrative arc itself, well, it’s pretty standard horror fare – so much so, that both my friend and I were able to work out the key beats within the story’s climax and denouement by midway through the film. Now, having an unoriginal plot isn’t a real issue unless the film lacks other key hallmarks on which to center the meat of the tale – strong characters, interesting backstories, cool effects. In the case of Antlers, the only outside narrative device it has going for it can be found in its exceptional practical effects. The entity that Frank turns into is a feat of effects work and wouldn’t be out of place in a Guillermo del Torro film (coincidentally, del Torro is one of the film’s producers). And Cooper is careful never to reveal too much of the monster – a smart choice, allowing the audience to fill in the gaps with their own imagination.

If you’re in the market for an average horror film with some strong performances, you could certainly do worse than Antlers. However, if you’re someone who requires more in-depth narrative arcs and complex characters with your scares, this isn’t the film for you. With a bit sharper work on the script, Cooper and company could have had a true home run. As it is, Antlers clocks out at a sliding double.

Antlers premieres on Friday, October 29 in theatres. This review was based on a screening at the Chicago International Film Festival.