Jordan Peele, celebrated for his contributions as a writer and director on films such as *Get Out*, *Us*, and *Nope*, has also been broadening Black horror as a producer by backing filmmakers like Nia DaCosta (*Candyman*), J.D. Dillard (*The Twilight Zone* reboot), and now Justin Tipping, co-writer and director of *Him*.

Peele’s association links these directors to a well-known brand of blockbuster horror and Black excellence. However, it also implies that fans and critics may not fully accept horror interpretations that stray from Peele’s approach. This was illustrated by the reception of *Candyman* and *The Twilight Zone*. What implications does this have for *Him*?

Tipping’s movie stars two impressive leads: Marlon Wayans in a dramatic capacity and Tyriq Withers, creating a dynamic pair that reflects their roles in the industry. Wayans portrays a veteran football star fatigued by the pressures of fame and the toll of the sport, while Withers takes on the role of a gifted rookie oblivious to the sport’s genuine challenges.

The film, despite its inconsistencies, is enhanced by these performances and Tipping’s giallo-influenced perspective on American football. But does it resonate overall?

*Him* is akin to *Suspiria* mingled with the NFL draft.

For legal reasons, the screenplay by Tipping, Zack Akers, and Skip Bronkie avoids referencing real team names or NFL brands, including the “big game.” Instead, *Him* revolves around a team called the Saviors and their quest to become the GOAT. Tyriq Withers stars as Cameron Cade, a college quarterback striving to emulate his idol, Saviors’ MVP Isaiah White (Wayans), who is contemplating retirement. Isaiah guides Cam with unorthodox training methods in a desert bunker, requiring personal sacrifices.

Similar to the dancers in *Suspiria*, Cam is eager to please his mentor, undergoing obedience trials that escalate to violence. As his body is tested, his mind is plagued by visions. Are these illusions or reality? What implications do they hold for Cam?

*Him* provides tension and surreal frights.

Tipping reinterprets football iconography in chilling sequences. A mascot transforms into a slasher, and mascots don unsettling attire. Fans’ cheers warp into eerie howls, and enthusiasm for Isaiah turns aggressive. As Cam nears the desert compound, he encounters Marjorie (Naomi Grossman), alongside two figures resembling cultists.

Football represents a faith, with the quarterback as a deity. Tipping incorporates Christian imagery, such as Cam’s cross necklace and a reimagined *The Last Supper*. Isaiah connects football’s sacrifices to gladiators, though other historical references could have been more impactful.

Tipping shines with disorienting visuals, utilizing blood-red lighting and effects to challenge the conventional football narrative. The chemistry between Wayans and Withers, a blend of admiration and envy, keeps *Him* engaging through psychological horror and brutal scenes. But…

*Him* stumbles during its climax.

Tipping blurs the line between reality, hinting that the horrors might stem from Cam’s brain trauma or the extremes of football. This setup calls for a violent conclusion, yet *Him* delivers an unexpectedly straightforward and underwhelming ending. The film transitions to a new setting with different antagonists, and the violence appears as an afterthought. It appears that Universal may have insisted on a new conclusion, leaving lingering questions and a fragmented ending.

Julia Fox is peculiar and sinister.

Fox, portraying Isaiah’s wife Elsie, injects a different vibe. Her arrival is chaotic, providing comedic relief while underscoring racial and privilege themes. Even as the third act deteriorates, Fox remains captivating.

Ultimately, *Him* is a mixed result, featuring strong performances, scares, and themes surrounding sports, race, religion, and masculinity. Tipping, recognized for shows like *The Chi* and *Dear White People*, may have taken on an overwhelming challenge. An ambiguous conclusion might have been more effective, but the eventual shift to something definitive and gruesome feels undeserved. In the end, *Him* falls short of achieving greatness.

*Him* premieres in theaters on Sept. 19.