Pete Davidson's Non-Comedic Fumble in 'The Home'

Adventuring into non-comedy territory, Pete Davidson, known primarily for his comedic roles on "Saturday Night Live," stars in the latest from "The Purge" director James DeMonaco, the horror flick, "The Home." A flick with much promise, but unfortunately, these expectations quickly come crashing down.

In "The Home," Davidson puts on the cap of Max, a troubled lad handed down four months of community service in a tucked-away retirement home in rural New York. Having grown under the wing of kindhearted foster parents (acted by Jessica Hecht and Victor Williams), Max is now confronting the rollercoaster emotional ride of losing a foster sibling, who tragically took his own life.

Maxisticicly moves into his new abode, warmly accepted by the aged denizens, (a few of whom played by Mary Beth Piel and John Glover). However, not all welcome him with open arms. The overseeing physician (Bruce Altman) and a couple of nurses (Mugga and co-screenwriter Adam Cantor) serve him a cold shoulder. Amidst hush-hush whispers about the ominous fourth floor residents, it doesn't take Max too long to give into curiosity.

With subtlety being its first suit, "The Home" kicks off promisingly. DeMonaco's visual style willingly embraces a claustrophobic air, utilizing a narrow visual scope, and artful grey-toned lighting to build a chilling ambience. A creeping sensation of unease gradually seeps into scenes thanks to carefully squeezed suspense and a mounting sense of isolation crafted for Max.

Unfortunately, the promising setup quickly dissolves into disappointment. The horrifying humanoid occupants on the fourth floor, with blood gushing out of their eyes, are disconcertingly non-human. Yet a mystifyingly muddled Max remains entranced by this spectacle, weirdly unbothered by their eerie appearance. Additionally, the plot seems haphazardly explained to Max through hushed whispers coming his way in mysterious emails.

The film's downfall is further exacerbated by Pete Davidson's underwhelming performance. His emotionless and monotonous portrayal, coupled with his somewhat perplexing dialogue delivery, leaves the audience utterly disconnected. His scenes with Mary Beth Piel underline the lack of depth in his portrayal, leaving the rest of the cast awkwardly playing to the camera.

And so, "The Home" trudges along to an unremarkable climax, the suspense of the early parts replaced with a splattering of blood and gore reminiscent of an old-school slasher film.

In the end, "The Home" leaves much to be desired, far from a homage to celebrated horror classics it aspires to emulate. Neither frightening enough to terrify nor campy enough for giggly entertainment, Pete Davidson's sober portrayal and James DeMonaco's directorial approach leave the film flat and underwhelming. In essence, "The Home" might be one cinematic journey audiences should prudently skip.