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[Review] HOMEWRECKER needs more scissors…

Homewrecker, as the title suggests, is the story of one woman wrecking the homelife of another. To do this, director Zach Gayne uses all the tricks at his disposal: psychological manipulation, physical abuse, adultery, and, in this particular case, a pair of really sharp scissors. 

What he doesn’t use, though, is any sense of subtlety.

The film stars Precious Chong as Linda and Alex Esso as Michelle, a mismatched pair of women who seem to have nothing in common except they happen to attend the same exercise classes. Desperate for a friend, Linda stalks Michelle to a coffee shop after class and basically bullies Linda, who works as an interior decorator, to come to her house and give her some decorating advice.

Usually, in a thriller like this, the film takes some time to let you get to know the main characters a bit as their natural friendship develops. There may be some quirks along the way as they discover more and more about each other, but the key is that the audience believes they could/should be friends. What is missing in Homewrecker, though, is any sense of mystery, any sense of unease about who the bad one of the pair will turn out to be. You know from the moment her wild eyes fill the screen that Linda is bat-poop crazy and Michelle needs to get away from her as soon as possible. And stay away.

But no. Michelle is either too nice or too weak or too poorly developed a character to do the sensible thing. She actually goes to Linda’s house and, as the audience already knows, it turns out to be the absolute wrong choice. Once the pair are settled into Linda’s house, a series of really strange things happen that make you want to scream at Michelle to snap out of it and run away. Although frustrating on one level because of Michelle’s inaction, some of the movie’s best scenes take place during her confinement in Linda’s house. The part when they sit down to play the Party Hunks video board game is actually rather delightful, especially the little videos added as part of the game. There is also a naturalness to their conversation while they play that is refreshing given the strident tones of the conversations up to that point. Linda is less shrewish and Michelle is less vacant. It doesn’t fix the core problem of the film — the total lack of mystery — but it makes Homewrecker more watchable. 

After Party Hunks is over, and Linda admits that even though they are closer now she will never let Michelle leave, the movie starts to build momentum towards the finish line. The women chase each other through the house, wrestle around a few times, and generally fill every frame with as much frantic energy as they can muster until Linda finally manages to restrain Michelle in the bathroom with a pair of ‘love cuffs’.

And that is when the scissors are introduced and Homewrecker finally hits its stride as a thriller. It’s too little, too late but it’s still a fun ending to watch. That’s not to suggest you should fast forward to the final scenes. While it sorely lacks mystery or nuance, at least Homewrecker gives you a bad person to root against along the way before you revel in what finally happens to her. 

IN SELECT DRIVE-IN THEATERS JULY 3, DVD/DIGITAL/ON DEMAND JULY 7

  • John Black, Homewrecker
0.5
John Black
John Black still remembers his first horror movie, sneaking in to a double-feature of Horror House with Frankie Avalon and a Boris Karloff film he can’t remember the name of but will always remember for giving him his first glimpse of cinematic nudity as one of the actresses moved from the bed to the door without putting on any underwear! (Fond family memory: That glimpse, when discovered by his parents, cased John’s mom to call the theater and yelling at the manager for letting her son see ‘such filth’.) Luckily, John was more impressed by the blood and horror than the bare haunches and quickly became a devotee of the genre.

John has been a professional movie reviewer since 1987, when his first review – of a Robert De Niro film called Angel Heart – appeared in the entertainment section of The Cape Codder newspaper. He’s been writing about film ever since, primarily now as the entertainment editor at Boston Event Guide. Hardly a day goes by when he doesn’t watch at least one movie, which is how he thinks life was meant to be.
John Black
John Black still remembers his first horror movie, sneaking in to a double-feature of Horror House with Frankie Avalon and a Boris Karloff film he can’t remember the name of but will always remember for giving him his first glimpse of cinematic nudity as one of the actresses moved from the bed to the door without putting on any underwear! (Fond family memory: That glimpse, when discovered by his parents, cased John’s mom to call the theater and yelling at the manager for letting her son see ‘such filth’.) Luckily, John was more impressed by the blood and horror than the bare haunches and quickly became a devotee of the genre. John has been a professional movie reviewer since 1987, when his first review – of a Robert De Niro film called Angel Heart – appeared in the entertainment section of The Cape Codder newspaper. He’s been writing about film ever since, primarily now as the entertainment editor at Boston Event Guide. Hardly a day goes by when he doesn’t watch at least one movie, which is how he thinks life was meant to be.