The Onslaught Review Embargo: A Misfire in the Making?

The recent review embargo for Adam Wingard’s film has sparked a flurry of opinions from critics. Beneath this surface-level debate, however, lies a more pressing concern: the homogenization of genre filmmaking. With an 82% “fresh” score on Rotten Tomatoes based on 22 reviews, the lukewarm reception raises questions about what we’ve come to accept as quality in genre filmmaking.

One notable aspect is Wingard’s storytelling approach, which relies heavily on paint-by-numbers story beats and fails to deliver on promised action and horror elements. Critics William Bibbiani of The Wrap and Simon Abrams of RogerEbert have criticized the film for this lack of nuance. Their negative reviews highlight a worrying trend: the industry’s acceptance of mediocrity in the name of genre familiarity.

In contrast, critics Angie Han of The Hollywood Reporter and Wilson Chapman of IndieWire praise Onslaught as an entertaining experience. However, their positive reception raises concerns about artistic vision and creative risk-taking. By playing it safe and delivering a slick, if unoriginal, product, Wingard may be perpetuating the very problems he’s trying to subvert.

The film’s reliance on fake blood and crass humor is a symptom of this problem, as Wingard and co-writer Simon Barrett opt for shock value over substance. This approach is particularly notable in an era where streaming services have democratized access to content, making it easier than ever for filmmakers to coast on established formulas rather than pushing the boundaries of their craft.

The lukewarm reception of Onslaught also speaks to a broader issue: the commodification of genre filmmaking. With the rise of streaming services, we’re witnessing an explosion of low-stakes, high-reward productions that prioritize spectacle over artistry. This shift threatens to erode the very fabric of genre filmmaking as studios and producers increasingly prioritize short-term gains over long-term artistic vision.

As Onslaught opens in theaters nationwide, it’s worth considering what this means for the future of genre filmmaking. Will we continue to accept mediocrity as a benchmark for success, or will there be a push towards more innovative and daring storytelling? The answer lies not just with Wingard and his team but also with audiences, who must demand more from their entertainment.

Ultimately, Onslaught’s ability to hold its own against the test of time remains uncertain. Only critical reevaluation over time will determine whether this film succumbs to the same fate as so many other forgettable genre entries or manages to carve out a lasting legacy.