On July 25, 2025, Pete Davidson returns to the big screen as the lead in The Home, a horror film directed by James DeMonaco, known for his work on The Purge series. This film marks Davidson’s first major starring role since the series Bupkis, offering him a rare opportunity to showcase his range beyond comedy. The movie delves into unsettling events within a retirement care home, blending familiar horror elements with Davidson’s emotionally charged performance.
The Story of Max and the Sinister World Inside the Elderly Care Home
Max, played by Davidson, is a young man recently released from years within the foster care system who is struggling to find direction after a run-in with the law. His foster parents secure him a job at an elderly care facility, hoping this new environment will help him settle down. While adapting to his responsibilities, Max befriends Norma (Mary Beth Peil), an elderly resident who warns him that something eerie is happening behind the scenes.
As Max investigates, he uncovers disturbing secrets involving the facility’s staff, including characters played by Bruce Altman and Denise Burse, as well as the patients, such as John Glover’s character, who are grappling with the realities of aging. The unfolding conspiracy turns deadly, forcing Max into a desperate fight for survival.
Davidson’s Performance Provides Genuine Emotional Depth Amid Horror
Though Davidson is primarily celebrated for his comedic work, The Home challenges him with a lead role that demands vulnerability and intensity. His transition into horror is notable given his past successes in blending comedy and suspense, such as in Bodies Bodies Bodies and his cameo in The Suicide Squad. Here, Davidson steps center stage, delivering an unexpectedly heartfelt and layered portrayal of Max.
The emotional core of his performance is most striking after the sudden death of Max’s friend. Although cloaked in mystery, Davidson captures the raw shock and grief with authenticity, showing a visible display of tears and sustained emotional tension throughout the film. As Max uncovers more about the sinister operations within the home, Davidson skillfully conveys mounting anger and frustration, anchoring the film’s chaotic horror with a compelling human element.
Visual Style Offers Nothing New but Delivers When It Comes to Gore
Director James DeMonaco’s visual presentation in The Home recalls the feel of early 2010s direct-to-DVD horror, lacking fresh or distinctive aesthetics. The atmosphere and themes bear similarities to films like Cult of Chucky, with its lower budget evident in several scenes. A recurring presence of masked figures evokes DeMonaco’s previous work on The Purge, but fails to bring new impact.
The film also includes an underdeveloped subplot featuring a video cam girl who seems aware of the dark happenings at Max’s workplace, though the portrayal lacks originality and visual flair. Comparisons to genre-defining movies like Get Out will likely prevail, particularly because of a key set piece that feels like a deliberate homage to films by Jordan Peele and Stanley Kubrick. While the movie’s narrative and visuals may echo these influences, The Home does not match their complexity or nuance.
Where the film excels is in its gore effects, especially during the climax. Several scenes showcase graphic imagery involving patients enduring painful physical afflictions, such as having teeth forcibly removed or bleeding from surgical wounds. These moments are executed with remarkable craftsmanship and contribute to an intense and gruesome finale that stands out amid the otherwise familiar plot elements.
The Story Struggles to Offer Fresh Insights Within a Crowded Horror Subgenre
Despite the intriguing setting of a retirement home as the focal point, The Home suffers from a lack of originality. Its story leans heavily on established horror tropes already explored in films like The Front Room, Hereditary, and Phantasm, all of which offer more sophisticated treatments of similar themes. The screenplay, co-written by James DeMonaco and Adam Cantor, falls short of providing a distinctive or meaningful commentary that would set it apart.
Horror often thrives on intertextuality—referencing and building upon prior works—but merely nodding to inspirations does little without a deeper dialogue or critique. For instance, the repeated use of the name “Loomis” might hint at genre conventions, yet The Home fails to meaningfully engage with its horror predecessors or develop these connections thoughtfully, leaving the narrative feeling more derivative than innovative.
Is The Home a Recommended Watch for Horror Fans?
For audiences who appreciate horror, The Home offers a more engaging experience than many recent studio releases, primarily due to Davidson’s compelling lead performance and the film’s gruesome climax. While it is far from perfect and weighed down by familiarity, it offers enough thrills and emotional moments to merit a viewing. Moreover, Davidson’s effective portrayal could signal a promising new direction for his career, potentially leading to more significant roles in the horror genre.
Audiences looking for July’s horror offerings should consider The Home, which opens in theaters on July 25, 2025.
