CLAWFOOT (2024): Despite Its Best Efforts You Won't Want To Soak In This Tub. (REVIEW)

If you’ve ever made a delicious Irish stew there comes a time when you’ve added all your ingredients and you look into the pot and have a moment where you’re tempted to add more, be a little bold with a spice or two, throw in a dash of Worcestershire, sprinkle in a bit of parsley or, heaven forbid, cilantro. Those ingredients can truly add to the dish taking it to another level entirely, it can change the dish into something different, or sometimes, it can ruin the dish completely. “CLAWFOOT,” directed by Michael Day from a screenplay by April Wolfe (BLACK CHRISTMAS) is an intriguing film that suffers from one too many ingredients, changing it from what it was to something completely different. There are so many genres at play here that the result is a bit of a muddled mess. It’s not to say that there aren’t fine ingredients, it’s just that there are too many of them and ultimately this film loses any flavor at all.

The film begins with Francesca Eastwood’s ( M.F.A., OLD) Janet having to deal with the incessant knocking of Milo Gibson’s (HEARTBREAK RIDGE, THE OUTPOST) Leo at her front door. He’s there to install a new bathroom she did not know about and after an exchange that goes on way too long, Janet laments and lets Leo in to begin the demo. What transpires over the next 45 minutes are repeats of the same scene: Janet not trusting Leo, Leo passive-aggressively and sometimes aggressively aggressively demeaning Janet to the point of gaslighting, Janet then fantasizes about murdering Leo and repeats. There’s nothing wrong with that formula and early on it’s reminiscent of Danny DeVito’s darker comedies from the late 80s, think of the cutthroat snark of “WAR OF THE ROSES” or the delightfully grim nature of “THROW MOMMA FROM THE TRAIN”. Unfortunately, here these scenes are half-measures, never fully committing or rising to another level. The first half of the film is rooted in a 90’s erotic thriller esthetic. Rugged workman goon vs. ricy rich viper. It’s interesting if not completely convincing but it’s done no favors by the score. It’s whimsical and playful and deflates any escalating tension we’re supposed to feel in these scenes.

With the introduction of Janet’s HOA buddy and confidant Tasha, played by Olivia Culpo (I FEEL PRETTY, AMERICAN SATAN) we realize this isn’t the domestic erotic thriller it’s been building toward, it’s a comedy and fairly broad one at that. The shift was welcome but now that the film had settled on a tone it came up against its biggest obstacle, actors in completely different films. Francesca Eastwood is perfectly suited for the thriller this film starts as but feels out of step when sharing the screen with Culpo and Gibson. After a second-half plot twist that introduces the always welcome Nestor Carbonell (SHOGUN, LOST) as Evan, Janet’s philandering husband the film dials it up to 11 as we’re treated to knife throwing, dismemberment, bludgeoning, stabbing, vehicular homicide and Postmates

All this could have worked had there been another pass or two at the screenplay. Scenes go on too long and there are multiple choices made regarding character decisions that are truly baffling. The film looks beautiful and the score, although not entirely suited to half this film, is a winner but that doesn’t do enough to make up for the script and some of the performances. Ultimately, when we come to understand what’s been happening all along (no spoilers) the decisions made from the very start by both our protagonist and antagonist feel flat and unrealistic. It’s a shame because at its core this premise is one we enjoy and frankly don’t get enough of these days.

Stay up to date with “The Dark Side Of Pop Culture” by following Macabre Daily on Instagram, Facebook, and Twitter.