John Logan’s Gothic horror drama “Penny Dreadful” retooled classic literary horror figures in a captivating, poignant way by exploring the ethos of monsters. For his directorial feature debut, Logan sets his sights on a familiar horror mainstay: the summer camp slasher. They/Them, pronounced “They-slash-Them,” takes place at an LGBTQIA+ conversion summer camp. It emphasizes its robust ensemble character roster over slasher thrills, making for a more compelling character study than a straightforward horror movie.
Save for a requisite opening kill, They/Them immediately unloads a bus full of unwilling and uneager campers at Whistler Camp. The teens are greeted by proprietor Owen Whistler (Kevin Bacon) and his handful of staff. Owen’s warm, charismatic speech to the campers promises that Whistler Camp is an accepting haven, atypical of the conventional conversion camp despite the camp’s purpose. Camper Jordan (Theo Germaine) gets disarmed immediately when Owen diplomatically comes up with a solution to the gender-split cabins, then suspicious of Whistler Camp’s easy-going vibe. Their suspicions prove correct when something sinister takes root at the camp, growing more dangerous the more the campers expose their vulnerabilities.
THEY/THEM — Pictured: — (Photo by: Josh Stringer/Blumhouse)
Logan, who also wrote and executive produced, spends a lot of time establishing the campers, their various backgrounds, and their bonds. Kim (Anna Lore) and Stu (Cooper Koch) come from affluent families and are reluctant to leave the closet. Quei Tann’s Alexandra faces family disownment unless she successfully completes camp, while Toby (Austin Crute) negotiated a free trip in trade for his stay. Veronica (Monique Kim) needs to work through her bisexuality, while Gabriel (Darwin del Fabro) wants to feel accepted after being bullied for so long.
Jordan is at the forefront, whose survival instincts and savviness mark them as the slasher survivor type. In the background is a slew of background campers without characterization or even lines of dialogue. The latter is a curious choice, considering the large cast already is in contrast with the low body count. Logan spends so much time developing his core group that the slashing becomes a late afterthought. Thematically it makes sense; these kids have had enough heartache to get unceremoniously dispatched. But Logan also bides his time doling out punishment for those that deserve it.
The switch between benevolent and well-meaning to psychotic and unhinged happens too abruptly. It renders particular reveals as puzzling and underdeveloped. Whistler Camp is only a weeklong excursion, but the various activities, budding relationships, therapy sessions, and psychological acts inflicted upon characters confuse the sense of time and pacing. When the masked killer finally decides to begin their slaughter, it feels as if a densely packed summer is winding down after months. That Logan frames the boundaries of good and evil so concisely means the killer’s mask isn’t necessary; despite the lengthy cast roster, the suspect list is relatively short.
They/Them succeeds more as a psychological, character-driven horror movie. Logan wrings some tension from intense conversations, brutal interactions, and occasional torment. Germaine is winsome as the capable leader, and the supporting campers are equally affable. Bacon stands out among the adults; his Owen can turn on the charm or menace in a blink. It helps that he’s the most developed of the bunch. They/Them can’t subvert the slasher concept, though. Logan tries to cover too much ground with too many characters in such a short running time. While it can be a detriment to the horror, They/Them does deliver on endearing characters with rooting interest.
They/Them debuts on Peacock on Friday, August 5.
