SICK: No Quarantine Required

Where the name of a director or a performer may draw an audience intrigue to a film, so too can its writer. When speaking of Kevin Williamson, nothing truer could be said. A name in both horror and young adult genres, Williamson has been behind the writing and development of some of the biggest hits on TV and film. Scream (1-4), I Know What You Did Last Summer, The Vampire Diaries, Cursed, The Faculty and Dawson’s Creek – just to name a few – have made him a household name amongst cinephiles alike. And while his latest story, Sick, may not be his best script to date, it certainly is far from the worst. Directed by John Hyams, Sick captures the horror of a divisive pandemic that bridges past, present and future horror.

Quarantine Gone Wrong

Set in April of 2020, Sick opens in a small market, signs of the pandemic in full view. There is a bit of humor infused in the recollection the opening garners, Tyler (Joel Courtney) starring at empty shelves and inquiring whether there is toliet paper in the back. As Tyler moves through the market, a voice over the intercom recites CDC guidelines for masks and distancing, as well as how to follow the store’s designated arrows for proper COVID safety movement around the store. It feels like the pandemic, firmly grounding the film into early lockdown. This opening is necessary as the film will turn to its limited set, limited cast and quarantine means of isolation where the ability to ground the film later could feel more contrived and forced.

As it firmly establishes the framework of the pandemic, the genre and Williamson‘s roots are firmly planted as well. Receiving a text message while standing in line (6ft apart), the text “Wanna Party?” draws recollections to both Scream and even Saw. It feels modern and anonymous, further driven as a photo of Tyler is sent, taken from behind, Tyler’s search in the crowd is met by undistinguishable masked individuals. Sick is effective at harnessing the idea of anonymity, especially in this opening sequence. Taking the typical anonymity of horror and aligning it with the pandemic and modern technology, keeps the opening, albeit predictable, fresh, engaging and immensely satisfying.

Following the opening, Sick stays in the framework of the pandemic, reinforcing the idea of isolation and anonymity, all while introducing use to the film’s central cast. With the college campus on lockdown, Parker (Gideon Adlon) and Miri (Bethlehem Million) decide to spend their quarantine at Parker’s family’s lake house – an exquisitely gorgeous house that gives definition and expanse to the action the film tackles later on. And while the opening is sure to solidify your engagement, Sick‘s transition to the isolated woods threatens to lose its audience. There are long takes that capture how remote the lake house is, yet linger just too long for the expected attention span of its audience. With the camera movements and action of the opening, there is an internal feeling that wants the film to keep the original pace it has set, building its characters and eventual climax.

While it does not happen often, these drawn out moments do occur throughout the film, threatening engagement. And while audiences have this to contend with, the film also struggles with its dialogue and interactions as well. At times it feels hollow, lacking authenticity and chemistry between its characters. And while there are moments of humor that build their relationships and character, too often, it fails to connect. Combine this with the film’s occasional continuity issues with regards to both pandemic and the film itself, and Sick becomes a mixed bag of success.

A “Sick” Horror

Though, not all is lost. The film is at its best when it’s in action mode, delivering brutal kills and a brutally fast killer. One of the elements that truly stands out is Hyams‘ filming style as the action plays out. The camera movements are literally “sick”. As the action occurs, or characters transition from one location to another, the camera follows them in an almost floating fluidity, panning shots and long takes allowing the camera to take on a life of its own. There is an electric energy it is able to create, giving a surreal feel to the terror and to the killer.

Sick also contains some memorable shots, the anonymity of the masks in the super market and a three person rave in a basement standouts. The rave, dance scene in the basement stands out in particular, the lighting, matched with the dancing matched with the spraying of a Lysol can is one of my favorite shots within the film – and not one I will easily forget. And while the score does not feel as memorable, it is vital to the film. When the film concludes, its notes will not linger, but as the camera sweeps you into the action, the score will get your blood pumping, syncing you psychically with the action of the film.

Conclusion:

As Sick reaches its climax, it turns its messaging on its head, giving a multi-layered interpretation. Sick finds its infections may be deeper and more affecting than its audience or characters realize. The film could have leaned more into its final reveals and secrets, yet it poses a deeper conversation of its many layers that reflect the many levels of the divisive pandemic that crippled a world. And while Sick may not be the grade A horror film it wants to be, it is an enjoyable watch, with a few surprises, some great visual creations and capsule of a pandemic we are all still dealing with.

Sick was released on Peac*ck on January 13, 2023!

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