They/Them
peacockSince the beginning of the cinematic horror genre, queer themes and fears have been present, with queer filmmakers using the genre to share their deeper terrors with wide audiences. Sometimes these queer expressions are hidden within the context of a film, and sometimes they are openly worn on the film's identity. John Logan's They/Them is one of those films to hold its queerness high and proud. Taking place at a gay conversion camp known as Whistler Camp, where a group of young queer adults is forced to spend a week. At first, things seem to be going well, as the counselors seem surprisingly kind and accepting, but soon the darker depths of the camp become clear and a fight for survival emerges.
Immediately, this idea on paper raises some red flags. Conversion therapy camp is a sewer of self-hatred and negativity that has led countless LGBTQ+ individuals to early and tragic deaths. It is a space of pure evil so to try to play with the space in a cinematic setting is a bold move that easily can be read as tasteless. It is shocking to see this space portrayed initially as a welcoming and open environment, clearly far from the reality of this world. One cannot express enough how dangerous this portrayal is. Even as the film grows and darker sides of the camp are revealed, allowing this type of portrayal means that the idea that this type of camp could be seen as overall harmless by unknowing audiences. To give that potential influence on voters when the closure of these camps is such a topical issue, and god-forbid if any parents of LGBTQ+ kids see this and begin to view it as a possible option for them – it’s the stuff of nightmares. This immediately starts They/Them off on the wrong foot.
As the runtime continues, things don't get much better. While homophobia strangely is missing from much of this camp, transphobia is running wild, with an inconsistent voice and thesis. Counselors are seemingly accepting of some individuals going through their gender journies while being hostile at some. Scene by scene, the motivations and morals of characters switch entirely building a world that is impossible to understand or follow. This continues as the film builds a horrendous slasher story. Both uninteresting and morally questionable, the film tries to build shocking twists that are not only predictable but also simply disappointing. This leads to a pathetic conclusion that offers nearly no closure and only leaves the audience with a confused feeling in their guts.
Without giving any spoilers away, as the camp staff dies one by one, there is a strange glee in the air that feels off. It is clear that most of this staff had gone through a program like this and are repressing their true identities, so to blatantly call them evil and celebrate their bloody ends feels sad in the completely wrong way. Sure they are doing awful things, but is there no room for sympathy or understanding of these queer bodies who are so absorbed with self-hatred? They/Them lacks the nuance and craft to handle even the shadow of this conversation and continually, the failure of controlling these complex morals in film proves why features like Last Night in Soho are so impressive. One can villanise an individual while holding empathy; to just call them evil when they are in a state of suffering feels wrong.
It doesn't help that much of They/Them feels lazy. When the most joyful moment one can think of to give a group of LGBTQ+ youth is a glee rendition of "Fuckin’ Perfect" by P!nk, it is clear there is a problem in the screenplay. Of course, the film relies on violence toward a dog as a moment of darkness. These are beyond lazy and to see these being used today with the state of modern horror is almost embarrassing. If it wasn't enough that the film morally is going to be repulsive, the film also just has to be badly made and crafted. There is a world where the film could have taken a more camp direction to make scenes like the singalong work better, but that is sadly not the reality of the film.
They/Them, on the outside, might seem like it has the potential to be a fun queer slasher, but the reality is sadly much darker. This is a morally disturbing feature that is not only gross but is also terrible when it comes to being a slasher. The reveals suck and the cast never truly find their footing. Poor execution of a poor idea leads to a bad film that deserves to be lost to the streaming algorithm.
