Cuckoo Review: Dan Stevens & Hunter Schafer Shine In Neon's Kooky New Horror Entry

Dan Stevens blowing into a flute in Cuckoo

Summary Writer-director Tilman Singer's sophomore effort Cuckoo opens with a strange and fascinating sequence that already justifies its title before cutting to its Hunter Schafer's Gretchen, following her family to their new home in the Bavarian Alps from the vantage point of the moving van. If that sounds like something of a non-sequitir, that's because Cuckoo relies on keeping us on our toes and asking questions.

Cuckoo spends the most time on Schafer's characterization, highlighting how disconnected she is from her father through a series of heartbeaking voicemails she leaves on her dead mother's answering machine. There Will Be No Explanation, There Will Just Be Cuckoo From the first unnamed teenager who silently spasms to the echoes of bird cries to Gretchen's potentially hallucinatory visions, vibes are the order of the day for much of Cuckoo. This is perfect for Schafer, who is well-versed in vibes thanks to her work on Euphoria, but it does leave us with more questions than answers as we reach the final act.

Nevertheless, the climax of the movie is an engrossing one, both in terms of the intense face-off between Schafer and Stevens and thanks to the dearly earned sibling bond forged between Gretchen and Alma. The conclusion may have left me with a confused expression on my face, but it certainly offered plenty of food for thought and no small amount of excitement for Singer's next horror project.

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