Dir: Justin Tipping
Cast: Marlon Wayans, Tyriq Withers, Julia Fox, Tim Heidecker
The American Football horror flick bursts onto the field with an ambitious, promising kick-off, but tangled messaging and a wobbly tone cause director Justin Tipping to drop the ball well before reaching the blood-soaked end zone
In what has been an incredibly strong year for horror, one film that still managed to catch my eye was the American Football-themed chiller “Him” when its trailer dropped months ago. The film, once called GOAT—a nod to the sports world’s Greatest of All Time—began as a spec script languishing on Hollywood’s blacklist before Jordan Peele and his Monkeypaw team saw its potential. Peele, long beloved as half of the comedy duo “Key & Peele”, stunned audiences in 2017 by pivoting to horror with the razor-sharp and chilling genre satire “Get Out”. That debut not only revealed his visionary eye but also his knack for weaving humour, social commentary, and classic scares into a new blueprint for modern horror.
Peele has left an unmistakable mark on the genre in the years since, not only by directing two more titles himself —the equally impressive “Us” (2019) and “Nope” (2022) —but also by producing Nia DaCosta‘s bold reimagining of the iconic Blaxploitation slasher “Candyman” in 2021. His creative influence stretches beyond horror, backing thematically powerful films like Dev Patel‘s adrenaline-charged, India-set “Monkey Man” (2024) and Spike Lee‘s Academy Award-winning true crime drama “BlacKkKlansman” (2018).
For his latest project, Peele steps into the producer’s chair, handing the director’s reins to Justin Tipping, a relative newcomer when it comes to directing feature films. Tipping, whose main experience lies in television, previously helmed the 2016 adventure film “Kicks”, which unfortunately flopped at the box office, earning a mere $10,000 against a $10 million budget, despite solid critical reviews. Having faced such an early setback in his filmmaking career, Tipping must have seen “Him” as his shot to break onto the Hollywood scene, especially with the weight of Peele’s reputation behind him.
Despite a hefty marketing campaign that leaned heavily on Peele’s name, it seems even his star power cannot rescue Tipping from another box office disappointment. After catching the film on its UK release last Friday, I can see why it has struggled to connect with audiences, despite its ties to both the lucrative horror and American Football worlds.
Just like the trailer that first hooked me, the film opens with real promise. We meet Cameron “Cam” Cade (Tyriq Withers), a rising football phenom tipped to inherit the quarterback mantle from the legendary Isaiah White (Marlon Wayans) for the San Antonio Saviours. Driven by the encouragement of his family, girlfriend, and the memory of his late father—who taught him that true greatness demands sacrifice—Cam pushes himself to the limit in late-night training sessions. But his dreams appear to be shattered when a mysterious figure in a goat costume ambushes him, leaving Cam with a devastating, possibly career-ending head injury.
Cam is informed by his agent, Tom (Tim Heidecker), that Isaiah is contemplating retirement and has invited Cam to his secluded compound for a week of training, a chance to prove himself as a worthy successor. Although unnerved by the fervent, almost cultish fans lurking outside the gates, Cam accepts the challenge. As the days unfold, Isaiah’s mentorship takes a dark turn, subjecting Cam to ever more unsettling trials. Soon, Cam’s grip on reality begins to slip, as Isaiah’s charm gives way to something twisted and menacing.
The most glaring problem with Tipping’s film, and likely the reason for its lacklustre box office, is how thoroughly it underdelivers. With the Monkeypaw name and Peele’s involvement, I anticipated a bold blend of meaning, horror, and entertainment, but instead, every element feels only partially realised, like a promising play dropped at the goal line. The real frustration lies in glimpses of a great film buried beneath clunky dialogue and Tipping’s wavering direction, which muddles any hope of the movie’s themes shining through.
The film occasionally hints at its untapped promise, especially in a first act that genuinely piqued my curiosity and made me question the harsh critical backlash. “Him” begins to explore the mounting pressures athletes face today, from the absurd extremes of modern training regimens to the emotional scars left by relentless tabloids and social media scrutiny. As Cameron unravels, haunted by visions of a frenzied press and subjected to bizarre, punishing routines alongside Isaiah and his eccentric doctor, Marco (Jim Jefferies), the movie briefly finds its footing. Tipping flashes his potential as a filmmaker with arresting visuals that underscore the toll of contemporary sports on both body and mind. Yet these moments are fleeting, as the film’s narrative stumbles, unable to juggle its horror, sports, and thriller ambitions, leaving the story scattered and unsatisfying.
By refusing to settle on a tone, “Him” spirals into chaos, made worse by slapdash editing and jarring archive footage that drains the vibrancy from Kira Kelly‘s cinematography. The editing lurches so wildly that I was left dizzy, unsure whether to laugh or recoil at the film’s gonzo, out-of-nowhere climax—a burst of violence that feels spliced in from another movie entirely. The botched ending offers no closure, and while Withers gives a serviceable performance, his character is so emotionally flat and charisma-free that it’s impossible to care about his fate during the film’s brief yet somehow exhausting 96 minutes.
The film’s one saving grace is Wayans, stepping into a rare dramatic role after years of comedic turns in the “Scary Movie” series and “White Chicks”. Many overlook his proven talent for serious acting, most notably in Darren Aronofsky‘s psychological, drug drama “Requiem for a Dream”. At 53, Wayans seizes the spotlight the moment he appears at his character’s desert compound, delivering a performance so wild and magnetic that Isaiah feels every bit the legendary sports icon adored by millions.
In the end, “Him” stands as a squandered opportunity, leaving me to imagine the film we might have seen if Peele had taken it on himself. There is real potential lurking in the intersection of horror and sports, waiting to be unleashed. For Peele, this year must sting, especially after losing the bidding war for “Weapons” to Warner Bros. earlier this year. The film has since become a critical sensation, a possible awards contender, and a box office juggernaut despite its restrictive age certification.
The Verdict:
Justin Tipping’s American Football horror fumbles spectacularly in a year when the genre is scoring touchdowns. Despite a strong kick-off with timely themes and a gripping premise, the film stumbles with a confused story and uneven tone, dropping the ball just short of the endzone. In more capable hands, this could have been a game-winning play.
Him is now showing in UK Cinemas
Dan Loves Film 
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