“Thanksgiving” had me at its grindhouse roots – a promise of raw, unfiltered horror that harked back to the golden era of exploitation films. When Eli Roth first teased us with the mock trailer in “Grindhouse,” I was all in for a gritty, blood-soaked ride. However, the 2023 feature film, while entertaining, swerved off this path, veering into a territory reminiscent of late ’90s and early 2000s slashers, leaving me with a mixed bag of feelings.
The original trailer was a tribute to the grindhouse style – rough around the edges, yet charming in its brashness. It encapsulated everything the genre stood for: gore, shock value, and a tongue-in-cheek approach to horror. In contrast, the full-length “Thanksgiving” film ditches this aesthetic for a narrative structure and tone that would feel more at home in films like “Scream” or “I Know What You Did Last Summer.” It’s not that I don’t appreciate these films – they have their place in horror history – but I couldn’t help feeling a twinge of disappointment for the missed opportunity to revive the grindhouse style in its full glory.
The modern setting and incorporation of current technology felt like a diversion from the unrefined rawness I was craving. The opening Black Friday sequence, albeit gory and darkly comical, lacked the unapologetic, low-budget feel of a true grindhouse flick. There can also be the argument that this kind of Black Friday tragedy hasn’t happened since the mid 2010’s, which is when this film seems to be an homage to. The film’s pivot to a more contemporary slasher style, complete with a high school-centric plot and a more polished look, seemed like a departure from the gritty authenticity that the trailer promised.
Don’t get me wrong, Roth’s direction and Rendell’s script do offer some captivating moments. The killer, wearing the mask of Plymouth’s first governor, adds a unique twist, and the film does an efficient job of setting up its characters. However, the narrative and stylistic choices steer the film towards a genre that, while popular, doesn’t quite satisfy the longing for that raw, visceral grindhouse experience.
In essence, “Thanksgiving” is a decent slasher film that ticks many boxes for a horror enthusiast. Yet, for someone yearning for a true grindhouse revival, it’s akin to expecting a Thanksgiving feast and getting a well-prepared, but somewhat conventional, dinner. It’s good, but it’s not the nostalgic indulgence I was hoping for.
“Eli Roth’s ‘Thanksgiving’ (2023) not suitable for family viewing. This film, rooted in the slasher and horror-comedy genres, presents a level of gore, violence, and dark humor that is inappropriate for younger audiences. Its graphic depictions of violence, combined with a storyline centered around a serial killer, make it a film that is best reserved for mature viewers. The film’s over-the-top kills, disturbing thematic elements, and the intense horror it portrays are far from the content typically deemed suitable for family-friendly entertainment. ‘Thanksgiving’ caters to an adult audience, seeking thrills and chills in the horror genre, and is not recommended for family movie nights, especially those with children or viewers who are sensitive to graphic horror content.”
If you would like to take a look at another film which captures the essence I wanted in Thanksgiving, look no further than “The Texas Chain Saw Massacre” It is renowned for its raw, visceral horror that’s both shocking and deeply unsettling. The film’s gritty, low-budget aesthetic and its relentless, nightmarish atmosphere echo the grindhouse tradition. It’s a movie that doesn’t rely heavily on gore (despite its reputation) but rather on intense psychological terror, much like what was expected from “Thanksgiving.”
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