Strange things are happening in the German Alps. Well, at least in the hills centered around a non-descript summer resort in said Alps. There is a peculiar figure running around the woods. Women are throwing up uncontrollably in the gift shop, and the establishment’s owner, Herr Konig (Dan Stevens), is giving Dr. Evil’s second cousin vibes. Thankfully, it doesn’t take long for our American heroine, Gretchen (Hunter Schafer), to have an epiphany that “Hmmm, something’s just not quite right here.” And that is a narrative choice that swiftly sucks the energy right out of “Cuckoo,” a horror-thriller that can’t live up to Schafer’s committed performance.
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A world premiere at the 2024 Berlin Film Festival and a selection of numerous festivals since, Tilman Singer’s feature finds Gretchen forced to move to Europe to live with her father, Luis (Marton Csokas), his wife Beth (Jessica Henwick), and her young half-sister Alma (Mila Lieu). Luis and Beth met Konig eight years prior at the same resort and have spent the period since figuring out a way to move into one of the stunning residences he has built on the property. Their excitement is tempered by their impatience with Gretchen’s reaction to her new home. The almost 18-year-old (but not quite) is frustrated over leaving her fledgling band in the States and is still in mourning over the death of her mother. One way or another, Gretchen will save up enough money, get to the nearest airport, and return to the safe haven of her mother’s home, which she believes is still in the family.
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Looking to help out Luis and keep Gretchen busy, Konig sets her up with a job at the aforementioned gift shop. This position conveniently allows her to meet several colorful characters, including her clueless co-worker Trixie (Greta Fernández); Ed (Astrid Bergès-Frisbey), a moody French traveler and potential love interest; as well as Henry (Jan Bluthardt), a police detective investigating mysterious events at the barely trafficked destination. What Gretchen quickly learns, however, is that when Konig warns her not to ride her bicycle home from work after dark, he isn’t kidding around. That figure running around the premises is a freaky hooded woman (Kalin Morrow) who isn’t very friendly and is ready to attack her next unsuspecting victim.
Despite some impressive 35mm lensing by cinematographer Paul Faltz, “Cuckoo” increasingly becomes a silly B-movie plot wrapped in a prestige aesthetic. A choice that dramatically and unintentionally weighs down the proceedings. Oh, and despite Singer’s best efforts, the result is simply not scary enough for anyone to care. That’s partially because the mythical creature at the center of the movie looks more like a reject from a Berlin underground nightclub than any serious threat (Oh, and it’s explained in cliche exposition from the character you easily identify as the villain the minute he appears on screen). Sure, the creature’s mechanism of playing with its victim’s perception of time is curious – at first – but when Gretchen realizes she just has to play music on her headphones to avoid its power, you sort of stop worrying for her or anyone else, frankly.
Credit where credit is due to Schafer for bravely holding together the convoluted and uninspired scenario as long as possible. Alas, most of her co-stars appear to be acting in completely different films. Stevens, in particular, is having a blast, clearly realizing how pulpy the whole endeavor is, while Csokas and Henwick are seriously stoic in their portrayals. Bergès-Frisbey also knows what sort of movie she’s in but doesn’t have enough screen time to relish in the borderline camp proceedings. Honestly, you almost wish Singer had the foresight to ensure everyone involved took the proceedings completely seriously. That might have resulted in a camp classic that would be more memorable than this often aimless and thematically thin endeavor. [C-]
“Cuckoo” opens nationwide on Friday via Neon.