Shadows on the Wall | The Parenting

The Parenting

dir Craig Johnson
scr Kent Sublette
prd Chris Bender, Jake Weiner
with Nik Dodani, Brandon Flynn, Brian Cox, Edie Falco, Lisa Kudrow, Dean Norris, Parker Posey, Vivian Bang, Kate Avallone, Chloe Sciore, John Hawe, Elle Kaye
release US 14.Mar.25
25/US New Line 1h34

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After a horrific but comical 40-years-ago prolog, this movie settles into the usual meet-the-parents comedy. But this one is set in a haunted house. The usual generational goofiness includes the expected stressful elements within these families, plus an unexpected snowstorm and ominous hints about what's lurking in the shadows. The relentlessly nutty tone makes this feel like a spoof, so it can never crank up something scary.

To help their parents get to know each other and accept their relationship, Rohan and Josh (Dodani and Flynn) rent a huge farmhouse in the countryside from quirky property manager Brenda (Posey). Rohan's intimidating, blustering parents Frank (Cox) and Sharon (Falco) arrive first, followed by Josh's somewhat looser father Cliff (Norris) and mother Liddy (Kudrow). But strange noises fill the house at nighttime. And then Rohan and Josh's self-absorbed friend Sara (Bang) turns up. Even worse, Frank begins behaving erratically. And no one knows that he's been possessed by the house's resident malevolent demon.

Various unspoken issues create realistic tension, from Rohan's secret intention to propose to the fact that Josh doesn't want Rohan's parents to know that he recently lost his job. Of course, there is also underlying awkwardness relating to their sexuality, which especially triggers this particular demon. Everything is played for laughs, from Josh bringing pot gummies to cope with the pressure to the zombie-like appearances of the house's previous residents. It's an odd mix, leaving resonant elements as throwaway gags while focussing on mindless silliness.

Performances are enjoyably deadpan, which creates a sharp counterpoints between the goofy humour, bonkers horror and serious themes. This is a terrific ensemble, adept at balancing these tonal layers. Dodani and Flynn are the heart of the film, likeable and easy to root for. Falco, Kudrow and Norris create some terrific moments along the way. And Cox has the most outrageous role, skilfully navigating Frank's absurdly uneven behaviour.

While the demon begins to take over the movie with increasingly grotesque effects mayhem, what holds the attention is the more nuanced interaction between the characters. The relationships between these people feel believably complex and messy, and they cleverly feed into the escalating wacky nastiness that swirls up in the final act, which plays as a parody of another kind of movie altogether. With a pointed emotional sting in the tail.

themes, language, violence 10.Mar.25

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