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[Review] Hulu’s “Helstrom” Gives Superhero Twist to Standard Action-Horror Exorcism Story

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Though loosely based on Marvel comics characters, Hulu’s Helstrom eschews any connection to the MCU, wanting to stand alone as a horror series more in line with the CW’s early aughts output. If you’re sad that Supernatural is winding down, Helstrom seeks to fill that void with a new pair of demon-slaying siblings. Except, instead of the former’s affable charm, the latter offers a team of brooding, unhappy siblings, cliched possession tropes, and worldbuilding that’s not near as expansive as it thinks. At least in the first five episodes screened for critics.

Helstrom introduces us to Daimon (Tom Austen) and Ana (Sydney Lemmon) Helstrom, estranged siblings with unique psychic abilities thanks to their intimate connection with the demon world. The pair grew up separately after tragedy befell their family, meaning the two drifted apart in geographical location and personality. The prickly and guarded Daimon is an ethics professor by day and an exorcist by night. A couple of states away, Ana lives a more lavish life as an auction house owner, but her favorite hobby is using her gift to track and murder humanity’s most vile. When demonic activity seems to be increasing at an alarming rate and their long-possessed mother, Victoria (Elizabeth Marvel), indicates a plot may be afoot involving their long-dead demon dad, the duo reunites. They might be the only ones to save humanity from the hell that’s coming.

In trying so hard to scrub the MCU clean from this series’ DNA, showrunner and creator Paul Zbyszewski instead leans into the standard tropes of possession-based horror. This plays out in the way humans are possessed and the subsequent expulsions of the demons, but the most prominent trope is the ongoing mystery involving demonic conspiracy. The monsters have a plan to take over the world, and many of the clues include conversations in padded cells with a long-possessed woman bearing all the physical traits made famous by The Exorcist. Of course, you can count on the Vatican to be involved on some level, too. How intertwined they are to the core storyline remains secretive, but they send supporting character Gabriella Rosetti (Ariana Guerra) to serve as Daimon’s partner. Mostly, though, she’s the audience proxy meant to guide us through this world of demons.

While the Satanic plot drives the story forward, so too does the sibling relationship. Both are brooding adults bearing a lot of emotional scars and trauma from their youth, so their connections and friendships are minimal at best. Daimon manages to be the softer sibling of the pair, with Ana reveling in her murderous ways. While brother seeks to mend his broken connection, he takes issue with the ethics of his sister’s behavior. Their interactions do present the most interesting aspect of this series thus far. It helps that Lemmon’s performance livens up an otherwise dour series.

In keeping the family incident that broke them so close to the vest, and the Satanic plot yet to be fully presented, the worldbuilding remains superficial at best. There’s a lot of elements introduced, but not in a cohesive way. Among the first half, expect a lot of exposition but no real identity. The show changes depending on need; sometimes, it teases Indiana Jones-style adventure, sometimes it’s a police procedural, and sometimes it’s your generic monster of the week show with a superpowered twist. Always, though, it’s by the numbers.

It’s nice that Helstrom bypasses the requisite Marvel setup that sees its burgeoning superheroes struggle to learn their unique gifts before saving the world. When we meet Daimon and Ana, they’re quite comfortable with their abilities. Instead, the series falls back on standard possession horror with Satanic conspiracy, complete with fledgling Vatican agents, padded cell theatrics, and familiar exorcist clichés. It’s moody and ominous but superficially. There are glimpses of something more compelling buried in the usual, but the show hasn’t found its footing or identity yet. So far, it’s just a basic superhero twist applied to exorcism action-horror.

The 10-episode first season of Helstrom is now on Hulu.

Horror journalist, RT Top Critic, and Critics Choice Association member. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

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“Chucky” Season 3: Episode 6 Review – Ghosts and Gore Plunge the White House into Chaos and Terror

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Chucky season 3 episode 6 review "Panic Room"

The story threads converge in “Panic Room,” the sixth episode of Chucky Season 3. In the previous episode, a death row-bound Tiffany (Jennifer Tilly) demanded that a dying Chucky (voiced by Brad Dourif) “go down in a blaze of glory and take as many with you on your way out.” Considering the last episode also ended with the gruesome eye gouging of President James Collins (Devon Sawa), “Panic Room” plunges the White House into chaos and terror as Chucky lays the groundwork for his most ambitious plan yet.

Warren Pryce (Gil Bellows) continues to reveal his true colors, giving First Lady Charlotte Collins (Lara Jean Chorostecki) no room to grieve, let alone process what’s happened, before he enlists a clean-up crew to cover up the President’s death. Charlotte attempts to shield her children from the truth, even as she can barely hold it together, but finds herself plagued by ghosts in more ways than one. Jake Wheeler (Zackary Arthur), Devon (Bjorgvin Arnarson), and Lexy (Alyvia Alyn Lind) return to the White House once more under a scheduled playdate with Grant (Jackson Kelly), just in time for Chucky’s bid for White House control.

Devon Sawa as dead President James Collins in Chucky season three

CHUCKY — “Death Becomes Her” Episode 305 — Pictured in this screengrab: Devon Sawa as James Collins — (Photo by: SYFY)

“Panic Room” emphasizes Charlotte’s dire plight to effectively establish the stakes that go beyond Chucky. Chorostecki gives a rousing physical performance as a woman caught between duty, family, and her own agency. As if that’s not enough, the supernatural confrontations continue, ramping up the horror and the worldbuilding thanks to the highly haunted White House. Charlotte isn’t coping well with any of it, and the arrival of a familiar face threatens to send her over the edge.

With so many of Warren Pryce’s minions about, Chucky has plenty of fodder to cull in delightfully gory ways, once again showcasing the series’ fantastic puppetry and SFX work. The aged doll design is exquisitely detailed, down to thinning silver hair and age spots, evoking an eerie uncanny valley between Good Guy toy and a real geriatric human. Brad Dourif’s spirited, reliable voiceover work further sells the effect, and continues to demonstrate that there are always new facets to the horror icon to discover.

Lara Jean Chorostecki as Charlotte Collins looking scared

CHUCKY — “Panic Room” Episode 306 — Pictured in this screengrab: Lara Jean Chorostecki as Charlotte Collins — (Photo by: SYFY)

Jake, Devon, and Lexy are tenacious in their bid to thwart Chucky and retrieve Lexy’s sister, but they’re consistently multiple steps behind the pint-sized killer. “Panic Room” and the back half of Season 3 drive home why: there are no rules when it comes to Chucky. The highly adaptable killer may have a twisted moral code of his own- a gun lecture amidst a murder spree is so very Chucky. But he has no interest in predictability or authority. That extends to the voodoo that landed a dying killer in a doll’s body, one that’s now corrupted by Christian magic from a botched exorcism.

That development, along with the White House’s unique setting, means that anything can happen. There’s a thrill in the “anything goes” attitude and in the darkly funny ways that the series’ characters react to new developments.

The episode operates almost entirely on tension from Charlotte’s plight and Chucky’s maniacal machinations, clicking the moving parts into place and carefully maneuvering its players together for the final two episodes of the season. It builds to an insane conclusion with massive consequences for the final two episodes of the season. That forward momentum is thrilling but more exciting is what’s yet to come, thanks to the episode’s intriguing final frame.

“Chucky” Season 3: Part 2 airs Wednesdays at 10/9c on USA & SYFY.

3.5 out of 5

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