In America, two political parties are more separated now than they have ever been before. The Hunt depicts a power struggle between those parties and expresses that struggle using Richard Connell’s The Most Dangerous Game as an inspiration. When a number of seemingly random individuals wake up in the middle of a field with no recollection of how they got there, they must work together to determine what is happening and how to solve their collective problem. They quickly realize that they are being hunted by another group and that they must work together if they hope to survive.
For those of you who have been following my reviews, you have probably heard me say a few times how much I hate when a political agenda is forced down the throats of viewers. It is unappealing, and it often causes me to dislike the film and the people related to making this the purpose of their film. The Hunt, in nearly every way, is a political satire. It has a series of political agendas, yet, writers Nick Cuse and Damon Lindelof and director Craig Zobel find a way not to make audiences (and particularly myself) hate the ideas being presented to them. The agenda presented by the cast and crew of The Hunt appears to be that America is an issue, and, more specifically, that political parties are ripping this country apart. Liberals are depicted as overly sensitive and conservative as overly brazin. The two, while obviously very different in real life, are depicted as polar opposites who have nothing in common. Cuse, Lindelof and Zobel intensify stereotypes of the perpetual political debates that take place in this country in an attempt to expose how ridiculous everything is.
The acting, from the opening moments, is quite terrible. It is obviously done on purpose, and it adds to the idea that politics are a joke. They are messy and play a terribly unappealing role in the grand scheme of things in America. A-list actors, such as Hilary Swank, Emma Roberts and Glenn Howerton take a backseat to the star of The Hunt, Betty Gilpin. They each do a wonderful job of portraying what can only be described as blithering idiots, but Gilpin is the star of this film. She is everything needed to strengthen the ridiculousness of The Hunt and deliver the film’s message. It takes some time to appreciate the horrific acting of the well-known talents, but, as things progressed and the ideals behind the film became more clear, I am able to appreciate the sentiment behind the subpar performances.
In some ways The Hunt is a breath of fresh air because it allows audiences to form an opinion on politics, rather than something very specific being shoved down their throats. The biggest issue with the film is the fact that it was presented to audiences as a simple adaptation of The Most Dangerous Game, and that it would be a relatively serious film. This aspect of the film is terribly disappointing due to the fact that it was misleading. Trailers and early descriptions of the film made sure to lure fans of horror films, mystery films and thriller films, but that is not the audience the film actually appeals to. If one can look past the misleading adventures of the promotion team for The Hunt, it is, in many ways enjoyable. It does present audiences with some depth, some humor and some horror. The Hunt is not for the faint of heart (or for those who do not want to have to dig for meaning) but rather those who appreciate a good allegory, a little bit of gore and those who are sick and tired of the merry go round that is politics in America. Prepare to dissect every moment of Zobel’s film, and prepare to rethink your opinions on world (and local) politics. The Hunt does not force audiences to change their mind, only to rethink the absurdities that surround the world of politics and those who claim to grasp the magnitude of its existence.
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