When her sister mysteriously disappears, Clover (Ella Rubin, Fear Street: Prom Queen) and four Gen Z pals retrace her last known steps to a quaint empty inn in a remote small town of Glore Valley. Seeing as how the inn is chockablock with flyers for missing people of all ages, races, colors and creeds, you know things don’t bode well for them.
Sure enough, 27 minutes into the movie, all five are murdered. Then suddenly, they’re all alive again, finding themselves trapped in a Groundhog Day-style situation, but dispatched in different ways by different threats each go-round. Like Happy Death Day, the key to survival is figuring out how to break that loop. Bet the freaky hourglass clock on the wall stands as a Big Clue.
Based on a PlayStation game I’d not heard of, Until Dawn turns up with a nifty premise, allowing director David F. Sandberg (2016’s Lights Out) to tinker among several horror genres — slashers, witches, zombies, clowns, etc. — one night at a time. Still, even with each switcheroo presenting new situations (“Is anyone else growing new teeth?”), tiring repetition can’t help but set in.
Ultimately, Until Dawn wastes its invention on underwritten, unlikable characters, as you’d expect people named Clover would be. (How are the others not named, like, Chakra, Journey, Justice and Inclusion?) That may explain my enthusiasm for something of its midpoint breather, in which — spoiler alert! — coughing leads to exploding.
It’s not enough. Until Dawn is high-sheen corporate synergy studio horror as aimless as it is needless. —Rod Lott
