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doomonfilm · 6 years ago

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Thoughts : Happy Death Day (2017)

The term ‘horror’ is being thrown around very loosely these days. Horror, it seems, can range from films like Get Out to films like the Saw franchise, and all points between. Even when a trailer has been viewed, it can still be tough to assess the tone of a horror film until you’ve actually taken the plunge and watched it. Happy Death Day has been on my radar for quite some time now, and as many know, I’ve been making an effort to get re-acquainted with my old love for horror films. I was incredibly surprised and pleased, therefore, when I realized that this film falls into the satirical, self-referential and irreverent dark comedy spectrum for horror.

Tree (Jessica Rothe), a college student and member of a popular sorority, wakes up suddenly in the room of fellow student Carter (Israel Broussard) after a night of drinking. Confused and disoriented, she attempts to navigate her way through her day (which just so happens to be : avoiding interactions with her roommate Lori (Ruby Modine), dealing with sorority head Danielle (Rachel Matthews), diverting the pursuit of Tim (Caleb Spillyards), attempting to have an affair with professor Gregory Butler (Charles Aitken), and making her way to a surprise birthday party in her honor that evening. Things get complicated, however, when a stranger in a baby-faced mask kills Tree with a large knife, and even more complicated when Tree wakes up at the beginning of the very same day, in Carter’s room, disoriented. Trapped in a time loop where she is killed every night, Tree must figure out what is going on (and why) in hopes of freeing herself from the hell she is trapped in.

For any slasher flick worth it’s weight, you have to have a good killer, and the baby-faced killer in Happy Death Day does not disappoint. Rather than opt for a uniform of sorts, the killer is donning head to to black (jeans and a hoodie) with the addition of an extremely creepy mask that mirrors the college mascot. The mask also provides a bit of shocking counterpoint to the killer’s actions, with the mask having an innocent, child-like quality that goes directly against the intentions of the killer to harm Tree. It also makes the perpetrator of the crimes ambiguous enough to the point where we as viewers are completely unsure of who to trust, allowing our imaginations to run free and try to connect anything resembling dots of information.

Putting the locked loop premise in a slasher film is a brilliant device, and one I am surprised has not been used more often. In an immediate sense, you are given the same set of circumstances and information over and over, but with new knowledge aiding our protagonist through each iteration. This leads to expectations constantly being set, subverted, and adjusted, with plenty of visceral confirmation provided directly on screen as the days go by. In terms of a more philosophical edge, the locked loop in the slasher picture opens up a wonderful question to dwell on : is it worse to be killed by a mysterious predator, or is it worse to be doomed to come back over and over only to be killed over and over?

Ultimately, the premise provides the perfect groundwork for the journey of the hero, and our protagonist goes through it part and parcel. Her struggle for understanding ultimate leads to a journey of self-discovery and selflessness... rather than blame others for her feelings and alienate people, Tree learns that she must accept the past for what it is, and she must look past her initial read on people so as to not miss quality opportunities for connection. The true turning point comes when Carter is killed attempting to save Tree just as she is able to put together the pieces of the puzzle and discover a way out... at the moment of truth, she realizes that exiting the loop means Carter is no longer a part of her life, and she makes the decision to stay in the loop solely to ensure Carter is alive, which is by far the most altruistic act in the entire film.

Jessica Rothe, an actress I am unfamiliar with, definitely put herself on my radar with this film... her ability to play a purposefully polarizing lead that can still flex magnetic charm is a great combination of skills to possess. Israel Broussard comes off a bit as a pawn in the overall arching narrative, but his character does provide a sharp contrast to the rest of the cast and their self-centered natures. Ruby Modine and her constant presence work to great effect, with her payoff slowly revealing itself via wonderful pacing. Rachel Matthews channels all of the Mean Girls and Heathers energy she can to make her seemingly one-note role have more depth. Charles Aitken sets himself up to be a key character, only to slowly fade into the background. Rob Mello is a good bit of casting, with his ‘looking the part’ helping us viewers get fully committed to a wild goose chase for resolution.

I have to learn to stop waiting so long to check out recommendations. So many people told me about Happy Death Day that it is not surprising I am an instant fan of the film, and I only have myself to blame for waiting so long to check it out. Don’t be like me... if you’re not familiar with this film, or you’ve been told about it but haven’t got around to it, check it out while it’s still on MaxGo, or just grab yourself a copy.

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