Ever since its screening at this year’s South by Southwest, writer/director Tilman Singer’s sophomore feature Cuckoo has been heavily labeled as a batshit insane, must-see horror flick. Now that it’s finally hit theaters, it definitely lives up to its wild reputation boasting a bizarreness and skin-crawling terror that needs to be seen to be believed. Yet, it struggles to make its craziness completely worthwhile or accessible.

The film takes viewers to a secluded resort in the Bavarian Alps where a teenager named Gretchen (Hunter Schaefer) notices some strange occurrences. After picking up a front desk job at the hotel, she sees some of the guests acting weird and is stalked by a mysterious hooded woman. Even worse, no one believes anything she’s saying, and the hotel’s owner Herr Konig (Dan Stevens) gives off some super suspicious vibes. Eventually, Gretchen uncovers a horrifying truth about the hotel – as well as the reasoning behind her family moving there – and now finds herself in a terrifying fight for her life. 

Singer taps into this enticing suspense and sense of mystery that instantly draws viewers into Cuckoo and its setting. The isolated nature of the resort is not only stunning due to the lush forest that surrounds it, but also because it reeks of secrecy. It’s the type of place that’s obviously trying to hide something more sinister beneath the surface. It’s got the look of a swanky lodge that might be fun for a weekend getaway, but there are definitely elements that constantly make you uneasy – especially Konig. His introduction is just so creepy, and he has evil intentions that stream in between his smug smile. Singer instills the perfect paranoia for this atmosphere – making you question everything the same way Gretchen does. 

Once viewers are entrenched into the experience, Singer’s distinct horror vision fully flourishes. Without warning, he totally ramps up the horror and showcases some incredibly tense yet fun sequences that’ll have viewers shook. An early chase scene with Gretchen at night acts as a scary turning point for the film that really gets your pulse going. The sound design is flawless throughout with strong music choices often setting the tone and this piercing screech acting as a foreboding tool in Singer’s arsenal. Plus, there’s some good body horror thrown in that’ll make your mind melt and stomach churn in disgust. Yet, there’s a purpose to it all as it influences the bigger mystery at hand. 

Although Cuckoo has a clear horror backbone, there are detective/noir elements sewn in as well. Along with a private-eye character that Gretchen briefly works with, Singer spreads some breadcrumbs throughout the film that spark interesting questions to chew on. Throughout the film, you’re wondering why this distant screech causes people to fall into a time loop and others to become catatonic. The motives of this hooded woman are cryptic and shrouded in haunting actions. Plus, the whole mystery of what’s really happening at this resort is constantly lingering. Singer sets the stage for a great narrative to unfold, but unfortunately, this film doesn’t have enough meat on its bones at times. 

The breadcrumbs and questions – while tantalizing and tough to resist – eventually lose their luster as the film cooks its mystery for too long. There are other storylines that come off weak because they revolve around tropey characters with shallow depth – like Gretchen’s parents. Plus, the answers the film provides aren’t always the most satisfying or easy to understand. Honestly, Cuckoo goes so hard into its insanity that its reveals hold too much sticking power. As its final act unfolds, audiences will simply be stuck on how weird everything is and the wild nature of what’s happening in front of them. It makes the film’s potential themes of body autonomy and connections between women not as attainable, and makes you wonder if any of this even makes sense in the context of the film. By the time you’re even able to piece some of it together, the credits are already rolling and it’s easy to come away unclear if you’re really satisfied by the story. 

Regardless though, the final stretch of Cuckoo is a blast for genre lovers – sheerly because it’s so wildly chaotic, bloody, and breakneck. Singer’s suspense-building is at an all-time high because Gretchen finds herself in the belly of the beast desperately trying to escape. Stevens goes full-tilt into delightful villainy in the best way possible – delivering a campy performance that dishes out great lines and is crowd-pleasing fun. Best of all though, Gretchen’s arc hits some unexpected highs that leave an impact. The story threads surrounding Gretchen’s grief from her mother’s death generally hit hard because of how real the pain feels. But, the last few moments Gretchen has with her mute half-sister Alma (Mila Lieu) are where the film finds its heart. It ends the film on a really good note and actually embodies the themes mentioned before much better than other parts of the film. Also, Schaefer’s performance absolutely elevates Gretchen as a character and the small arc she shares with Alma – ultimately culminating in a likeable protagonist audiences will slowly connect with on an emotional level.  

Cuckoo isn’t without its flaws – namely the ways its strong sense of mystery dies down and struggles to regain itself once it flies off the rails. But, horror fans will certainly have a blast thanks to Singer’s suspense craftsmanship, good performances from Schaefer and Stevens, and a finale that rarely lets off the gas.

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