Here’s a bold statement: horror movies have a box problem—and it’s not just about storage. From Hellraiser to Wish Upon, these mysterious containers never bring good news, yet they keep popping up in films like they’re the latest plot device trend. The latest offender? Vicious, a Paramount+ horror flick starring Dakota Fanning, where a simple box becomes the harbinger of doom. But here’s where it gets controversial: Is it lazy storytelling, or are filmmakers tapping into a deeper, primal fear of the unknown? Maybe it’s just a collective trauma from bad childhood Christmases—who knows? Either way, Fanning’s performance is the real showstopper here, even if the film can’t quite rise to her level.
Fanning plays Polly, a woman teetering on the edge of physical and emotional chaos. In the opening scenes, she’s a whirlwind of anxiety—chain-smoking, trying on dresses, and prepping for a high-stakes interview. But her self-absorption takes a backseat when she lets in a disoriented old woman (played by the brilliantly eerie Kathryn Hunter, who once portrayed all three witches in The Tragedy of Macbeth). And this is the part most people miss: Hunter’s presence isn’t just creepy—it’s a masterclass in subtle menace, setting the stage for a night of psychological terror.
After some awkward small talk, the old woman reveals her true purpose: a wooden box, an hourglass, and a grim prophecy. ‘You’re going to die tonight,’ she declares, sounding like the world’s worst life insurance agent. Polly’s only hope? Fill the box with three items: something she hates, something she needs, and something she loves. Thought-provoking question: Is this a metaphor for life’s choices, or just a cheesy horror trope? You decide.
What follows is a night of soul-searching, gore, and increasingly bizarre encounters. Polly seeks help from her mother (Mary McCormack), sister (Rachel Blanchard), and neighbor (Klea Scott), all while trying to protect her young niece (Emily Mitchell). Along the way, she endures graphic self-mutilations and faces a demon in her closet—because why not? Director Bryan Bertino (The Strangers, The Dark and the Wicked) knows how to crank up the tension with jump scares and a haunting sound design, but the film’s lack of narrative coherence starts to wear thin.
Bold interpretation: Vicious feels like a series of scary moments strung together with dental floss. Sure, there are chilling highlights—like Polly choking up an antique key or her mirror talking back to her—but the psychological murkiness never quite adds up. Even the use of classic songs like ‘Dedicated to the One I Love’ feels more gimmicky than genius. Reminiscent of Polanski’s Repulsion, the film aims for greatness but falls short, leaving viewers more frustrated than frightened.
By the time the old woman returns in the final act, you’re less interested in the ‘why’ and more focused on the ‘when will this end?’ Final thought-provoking question: Is Vicious a missed opportunity, or does its chaotic approach to horror have something to say about the fragility of the human mind? Let’s debate in the comments.
