Eli Roth’s Thanksgiving offers a delightful mix of gore, social satire, and campy horror in the historic streets of Plymouth, Massachusetts. The film promises a killer Thanksgiving with the tagline “This Thanksgiving, there will be NO LEFTOVERS!” However, Roth struggles to find the right balance, leaving us yearning for directors who wholeheartedly commit to the genre.
Known for his love of gorefests, Roth’s film flirts with social satire, yet its uneven tonal quality leaves viewers wondering if the director is unsure of how seriously to take his own creation. With Thanksgiving, the director finds himself caught between satirizing society, delivering a classic slasher, and adding a touch of operatic drama, resulting in a cinematic mishmash.
Thanksgiving’s origins trace back to Robert Rodriguez’s 2007 Grindhouse, where Roth’s trailer for the film became a fan favorite. The original trailer exuded a ’70s exploitation film vibe, complete with over-the-top gore, sex, and satire. Yet, the new Thanksgiving, despite maintaining gore, adopts a more serious tone, with a modern horror film aesthetic. It departs from the gritty, grimy feel of the original, losing the pulpy parody charm that made it a cult favorite.
The film attempts to explore social commentary, beginning with a strong and unnerving Black Friday sequence critiquing consumerism. However, this promising start fizzles into a generic teen slasher plot, failing to maintain the impact of the opening scenes. Even Patrick Dempsey’s inexplicable presence can’t salvage the film’s bland character dynamics.
Despite being set in Plymouth, Roth misses the chance to delve into the town’s serious Thanksgiving traditions. The film’s attempt at distorting familiar Thanksgiving tropes lacks substance. Whether due to the film’s lack of investment in characters or the straightforward presentation of creative kills, the sequences borrowed from the original trailer feel uninspiring.
While Roth seemingly attempts to elevate the film beyond a cheesy shockfest, he mistakes “art” for “seriousness.” The serious approach to a Thanksgiving serial killer storyline doesn’t resonate well, and the film’s attempt at balanced storytelling feels off-kilter. Roth could have satisfied audiences with an updated evil turkey, but his endeavor for measured balance in an inherently unbalanced story leaves Thanksgiving feeling underwhelming.
In the end, perhaps all we need is the schlock, shock, and crassness of a true horror classic. Roth’s attempt to contribute to the “golden age” of horror with a more refined approach ultimately misses the mark, and Thanksgiving falls short of living up to its anticipated return after 16 years. Sometimes, the bit is all you need, sans unnecessary window dressing.
