The phrase “style over substance” is overused to describe films by directors with a distinctive aesthetic. That Quentin Tarantino, Sofia Coppola, or Wes Anderson make films that have spawned countless imitators doesn’t invalidate the thoughtful ideas they put into their material. In the case of “They Will Kill You,” style is the only thing the film has in its favor, given that its narrative and thematic core are derivative of many recent hits, including a few that are currently in theaters. While there is so much promise to the way that some of the setpieces are conceived, “They Will Kill You” is so haphazardly put together that even its boldest moments aren’t enough to justify its waste of potential.
Although it opens with an unnecessary and momentum-crushing flashback, “They Will Kill You” is the story of Asia Reaves (Zazie Beetz), a former convict who has been searching for her sister Maria (Myha’la) after being released from prison. In order to make ends meet to find Maria, Asia agrees to take a new job at a high-rise in New York City under the enigmatic superintendent Lilith (Patricia Arquette), who introduces her to the unusual residents. It’s shortly after her employment begins that Asia discovers that the building has become locked down, making it impossible for her to escape. It’s also hiding a deadly secret; the residents are part of a Satanic cult, and are intent on using her as their next victim.
The “eat the rich” concept has become so frequently utilized that the sentiment no longer has any value. Beyond the fact that “They Will Kill You” doesn’t take the time to establish the wealth and privilege of any of its antagonists, the notion that the upper class partakes in depraved, malevolent activities behind closed doors is no longer as provocative as it once was.
The unfortunate reality for “They Will Kill You” is that its premise is very reminiscent of “Ready or Not,” given that they are both about a young woman trapped in an isolated location, who is hunted down by a gang of supernatural, wealthy family members who want to sacrifice her as part of an ancient ceremony. That’s not to say that “They Will Kill You” is intentionally derivative, but the comparisons don’t help it when “Ready or Not” explained its story in a more palatable way and developed a more compelling protagonist.
It also doesn’t help that “They Will Kill You” is in theaters only a week after “Ready or Not 2: Here I Come,” a sequel that teamed up Grace MacCaullay (Samara Weaving) with her sister Faith (Kathryn Newton). Comparatively, the dynamic between Maria and Asia is far less interesting because there is no tension.
The flashback gives an acute understanding of why they were forced to separate, and their reunion is so primed for misdirection that it’s no shock when a twist is ultimately pulled. There are also relatively few scenes in which the two charismatic actresses get the chance to act in a way that suggests any sort of affection between them. Beyond the fact that Asia feels responsible for her sister, there’s no suggestion of how well they know each other.
This is indicative of a larger issue with “They Will Kill You,” which is the film’s underwritten characters. Beetz has proven more than once that she can deliver snarky, yet vulnerable performances, but Asia is a character who is so often shrieking in rage that there’s little to unpack beneath the surface. Beetz is not served by a melodramatic backstory that goes through themes of trauma and isolation that now feel achingly cliched within the horror space. What’s most disappointing is that none of this rage on her behalf feels specific, as “They Will Kill You” uses buzzwords in place of anything resembling a compelling backstory.
Despite the attempt to create a darkly comedic tone (one not dissimilar from “Ready or Not”), the supporting cast of “They Will Kill You” is given only the barest of archetypes to play off of, and they still fail to register as anything beyond faceless goons. Even if the attempt was to reflect the monotony of the wealthy, the film doesn’t ascribe any characteristics to its antagonists beyond the simple fact that they are in a cult.
Arquette is doing by far the most scenery-chewing, but her decision to amplify every expression and reaction becomes grating by the time the film limps to its conclusion. What’s more confusing is that she uses a laughably terrible Irish accent; why Arquette was cast in place of the many competent Irish actresses currently working makes little sense.
The one aspect of “They Will Kill You” that elevates it beyond the type of bottom-of-the-barrel low-budget horror drivel that only lives on VOD is that the choreography is strong, and Beetz was clearly well-equipped to handle the fight scenes. While the exaggerated, balletic nature of the hand-to-hand combat makes the stakes feel even lower, “They Will Kill You” isn’t lacking in talent. It’s a visually dynamic film that, unfortunately, makes the mistake of using one too many cutaways and stylized flashbacks in order to mask its contrived narrative construction. Given how often these techniques are used, it would at this point feel more radical to tell the story in a straightforward way.
By the time that it reaches its admittedly bonkers finale, “They Will Kill You” hasn’t afforded enough time to make its radical shifts into dark fantasy feel out of the ordinary. As admirable as it is that the film ensures that there’s some sort of set piece within every few minutes of screen time, it’s so orchestrated to be entertaining that the result feels procedural. Without the genuinely upsetting ideas to be a genuine horror, the stakes for the action to feel realized, the clever writing to be a satire, or the emotion to be an old-fashioned star vehicle, “They Will Kill You” fires on multiple cylinders without registering at any.
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