Swapping bodies. It has happened aplenty in film. In films like Freaky Friday, Change-Up, 13 Going on 30, and Hot Chick are just a few examples. Now we have another to add to the list in Freaky. This is the Blumhouse entry into the sub genre. Blumhouse is known for its horror films, so you know you are getting that slant on body swapping here. Prepare yourself for a high school girl swapping bodies with a serial killer. Batten down the hatches!
Being a high school senior, Millie (played by Kathryn Newton) should be living the best year of her life so far. Actually that last sentence is in the wrong order. Millie is having what is so far from the best year of her life. She is the unpopular kid and that, for a high school senior, means just hanging on. In her case by the tips of her fingernails.
That all changes in a weird way when she becomes the next target for serial killer The Butcher (played by Vince Vaughn). You might be thinking “hey, her life is not changing; she is going to be dead!” Well, not so. When the two come into contact instead of Millie ending up dead somehow she finds herself in The Butcher’s body and he in hers. Confused? Well, so are they! And there is only 24 hours to right this wrong.
Anything but your typical teenage high school film this is one filled with gore and humour. A fun combo if you are up for it. Why it works is that it is comfortable in its own skin, knows what it is and takes the piss out of itself and the whole slasher genre time and time again. Strap yourself in for the ride!
What really made me laugh was Vince Vaungh as a teenage girl. I mean, in all sincerity he does a better job in that role than half the teenage girls I have seen attempt it.
Now for the negatives, the story is what weighs down the fun and slasher bits. It is totally predictable. I mean, you can see what is coming down the pipe from a country mile away. Even if you were blind.
-Split Personalities: Millie vs. The Butcher
-Crafting the Kills
-Christopher Landon’s Brand of Horror
-Final Girl Reframed
-Feature Commentary with Co-writer/Director Christopher Landon