Released in cinemas last month, “Him” has garnered attention from audiences across the globe, in large part due to Jordan Peele’s producer credit. Directed by the lesser-known Justin Tipping, the film — an offensive drama that explores the boundaries of what it means to be a true athlete — has suffered a butchering at the hands of critics and general audiences alike.
While audience members likely brought overinflated expectations to this movie, it’s not hard to see where the ruthless criticism stems from.
The story follows young football quarterback Cameron Cade (Tyriq Withers), who is destined for greatness before a brutal attack that has the potential to end his career. With retirement looming, Cameron hastily accepts a seemingly miraculous offer from his football hero, Isaiah White (Marlon Wayans), to train at his remote and technologically advanced facility.
At first, Isaiah’s determination, charisma and devoted staff seem like they’re exactly what Cameron needs to work his way back to the field. But, as the training intensifies, Isaiah pushes the boundaries of morality more and more, forcing Cameron into a space where seeking athletic success means exceeding all limits, no matter the cost.
Cameron’s descent into horrors of Isaiah’s design culminates in a final fight where predictably, Cameron prevails over the face of evil. This bloodbath at the film’s conclusion leaves an entirely unpalatable taste in the mouth.
It is not just the finale that warrants the film’s savage reviews. While the acting is acceptable, there is not enough time for audiences to connect with the protagonist before he is thrown into the training facility, resulting in little emotional investment when he begins to suffer both mentally and physically.
Additionally, the emphasis on Cameron’s family as his guiding focus and moral compass would be a beautiful sentiment, if there was any attempt to get the audience to care for them. His mother (Indira Wilson) and cousin (Guapdad 4000) have very limited screen time despite the weight they have on Cameron’s motivations, and their moments with Cameron convey very little about the characters themselves or their relationships.
The supposed plot twist that occurs in the final act — which reveals the secrets behind the origins of Cameron’s athletic abilities — falls flat. Audiences have little chance to see the involvement Cameron’s coaches and mentors had in his traumatic upbringing before they are revealed as perpetrators, making the grandiosity of said reveal feel somewhat random.
In spite of these flaws, it is unfair to say the film has nothing to offer. Not nearly enough has been said about the film’s phenomenal visuals. Cinematographer Kira Kelly forces audiences into Cameron’s horrific world of professional sport. She conveys his psychological breakdown through intense imagery and camera work, notably including visceral shots of the body and occasionally switching to X-ray vision when it is physically impacted.
Tipping’s portrayal of the pain and sacrifice that comes with reaching athletic stardom provides a powerful commentary on the consequences of idolizing players: It results in their commodification and something close to body torture. To an athlete who has experienced the hardships of forced participation or even just the mental and physical pressure, the film generates a morbid familiarity. To a viewer with little knowledge on the matter, it serves as a wakeup call to the darker side of the sports industry.
While the centering of Peele’s influence in the film helped it gain traction during its promotion, it ultimately did a disservice to Tipping, removing him from his own creation and casting undue expectations on the movie. When audience members go to the theaters expecting another brilliant Peele horror and are instead met with half-baked character development, the disappointment blinds them to any virtues the film does have to offer, like its profound vision and messaging.
