Ick

Joseph Kahn, the iconic music video auteur (Blank Space, Bad Blood, Wildest Dreams, Out of the Woods, Look What You Made Me Do, ...Ready for It?, End Game, Delicate for Taylor Swift) turned feature director, returns with Ick, a sci-fi horror-comedy as chaotic as it is inventive. With its mix of millennial pop-punk nostalgia, biting social satire and slimy creatures, Ick is a film that refuses to take itself too seriously while tackling surprisingly relevant themes. The film explores stagnation, small-town apathy and generational fractures, all through the prism of an alien threat that is both grotesque and hilarious. Though uneven in execution, Ick confirms Joseph Kahn's place as a provocateur unafraid to take risks, even if the results don't always stick.

The story centers on Hank Wallace, played by Brandon Routh in one of his most convincing performances to date. Hank is a once revered high school quarterback whose life was derailed when a parasitic organism known as Ick caused a career-ending injury. Decades later, he's a washed-up science teacher, grappling with his past and the monotony of small-town life. Brandon Routh's casting feels like a stroke of genius: his own career, famously cut short after Superman Returns, mirrors Hank's arc, and his performance strikes a perfect balance between self-deprecating humor and heartfelt vulnerability. This metatextual layer adds depth to a character who might otherwise seem like a caricature of faded glory.

Joseph Kahn doesn't just use Ick to tell a story of personal redemption; he adds a biting commentary on society's complacency and willful ignorance. The parasite in question, which has been quietly spreading through Eastbrook for years, is a metaphor for everything we choose to ignore, from climate change to public health crises. When the Ick finally turns into a full-blown nightmare, the town's absurd response mirrors real-world disasters: conspiracy theories, denial and sheer apathy. Prentice (Debra Wilson), a government scientist, attempts to impose containment, but is met with a backlash from residents who prioritize the advancement of their children over their safety. The scene, set in a discount supermarket, is brimming with dark humor and denounces contemporary attitudes to authority and collective responsibility.

The film's humor is one of its greatest assets. Joseph Kahn and co-writers Dan Koontz and Samuel Laskey excel at crafting sharp, satirical dialogue that pokes fun at everything from woke culture to generational gaps. Dylan, Grace's deceptively progressive boyfriend, is one of the series' most striking characters. He uses the language of social justice for personal gain, which is both hilarious and revolting. Meanwhile, the interactions between Hank and Grace (Malina Weissman), his possible daughter, form the emotional backbone of the film. Their dynamic - a mixture of awkward father-daughter bonding and mutual disbelief at the absurdity of their situation - underpins the story amid its chaotic set-pieces.

Of course, this being a Joseph Kahn film, Ick doesn't hesitate to resort to a maximalist aesthetic. The editing is frenetic, with rapid cuts and montages that recall the origins of Kahn's music videos. The soundtrack, filled with millennial anthems from Blink-182, Creed and Dashboard Confessional, serves as both a nostalgic time capsule and an integral part of the film's tone. Kahn uses these songs not only as background noise, but also as narrative tools, amplifying key emotional moments and adding layers of irony to the action. The inclusion of Stacy's Mom in a scene featuring Mena Suvari, who plays Grace's mother Staci, is a particularly clever touch.

Despite its strengths, Ick is not without its faults. The CG effects, while appropriate to the early 2000s theme, are often unconvincing compared to the practical effects that defined classic creature features such as The Blob. The Ick's design - a mix of parasitic vines and sentient tentacles - is visually intriguing but lacks the tangible menace that could make it truly terrifying. What's more, the film's pacing is uneven. While the fast-paced editing and irreverent humor of the first act establish a solid foundation, the second half struggles to maintain momentum. 

The climax, in particular, feels bloated, with multiple false endings that dilute the emotional result.
Thematically, Ick ambitiously juggles a variety of ideas, from critiques of performative activism to meditations on generational inertia. However, not all these themes are fully explored. The film's commentary on fashion culture, while acerbic, risks coming across as overly cynical, and its parallels with the COVID-19 pandemic sometimes seem too obvious. That said, Kahn's willingness to tackle these subjects with humor and irreverence is commendable, even if the execution sometimes leaves something to be desired.

This is the heart of Ick's success. Beneath the layers of satire and slime, this is a story about letting go of the past and embracing change. Hank's journey from scruffy townie to reluctant hero is both poignant and satisfying, thanks in large part to Brandon Routh's charismatic performance. Supporting actors, including Pauli Weissman and Mena Suvari, add depth to the story, while Eastbrook's eclectic ensemble cast provides plenty of comic material.

Ick is a film that thrives on its contradictions. It is at once messy and meticulous, nostalgic and forward-looking, silly and sincere. While it doesn't reach the heights of Joseph Kahn's previous work like Bodied, it's a bold, entertaining effort that proves he's one of genre cinema's most singular voices. For fans of horror comedies, millennial nostalgia or just plain weird cinema, Ick is a must-see at the cinema.

Ick
Directed by Joseph Kahn
Produced by Steven Schneider
Written by Joseph Kahn, Dan Koontz, Samuel Laskey
Starring: Mena Suvari, Brandon Routh, Malina Pauli Weissman, Harrison Cone, Mariann Gavelo
Music by Brain Mantia, Melissa Reese
Cinematography: David C. Weldon Jr.
Edited by: Chancler Haynes
Production Companies: Image Nation, Interstellar Entertainment
Distributed by CAA Media Finance
Release Date: 21 September 2024 (United States)
Running Time: 92 minutes

Seen December 4, 2024 at Max Linder Panorama

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