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Marlon Wayans, star of Jordan PeeleHis new horror film HIM has criticized the critics who have negatively reviewed the movie – and he is correct.

The new horror movie has not received favorable reviews from critics, withsome calling it‘clearly the worst film of the year,’ whileothers have blamed it forbeing a “high-budget student film” striving to make an impression with its craftsmanship.

With a 28% on Rotten TomatoesAt the moment of writing, it is evident that it is not the success the developers had anticipated.

But what many appear to overlook is that HIM – directed by Justin Tipping –isn’t merely a weak sports movie with a horror element; it’s a daringly innovative movie that focuses on experience rather than analysis.

Wayans mentioned the weak performance on Rotten TomatoesInstagramwhile also pointing out other poor reviews his earlier films have gotten, such as the Scary Movie series and White Chicks, encouraging fans to decide for themselves.

Let me be clear… I have respect for critics. Their role is to critique. I respect their work. It influences our industry,” he emphasized. “But aopiniondoes not necessarily reflect everyone’s viewpoint. Certain films are ahead of their time.

Innovation is not always welcomed, and art is open to interpretation, which is subjective. I have spent my career creating classic films that were not initially well-received, yet those movies eventually became classics. Therefore, don’t rely solely on others’ opinions—see for yourself. Love to everyone [sic].

Although the storyline of HIM might not be as tightly woven as in a movie such as Get Out, the tension feels genuine, and the film excels at building an environment that seems almost tangible. Similar to the sport it portrays, it focuses on experience, emotion, and intense power structures; rather than strict story logic.

Located in a remote training facility, the story centers on young football prodigy Cameron Cade (Tyriq Withers) as he undergoes training with the guidance of renowned quarterback Isaiah White (Marlon Wayans) and experiences unsettling interactions with White’s wife (Julia Fox).

Wayans, Withers, and Fox offer thoughtful, authentic portrayals, with their physical forms showcased in a manner that raises intriguing questions about the concepts of objectification and sexualization within sports and celebrity.

From the very first scene, the movie’s visual style is compelling, showcasing vast desert vistas and disturbing lighting that mirrors films within Peele’s cinematic ‘universe.’

It strives to envelop the audience in the fractured, tormented mind of its main character, a young man ready to give up everything for success. The horror is mental, a gradual build-up that sneaks up on you like the confusing pressure intensifying on Cameron as he questions whether his head injury is affecting his perception of reality.

Is it a dialogue-driven, Socratic horror film that has gained popularity through studios such as A24 in recent years? No. It’s more akin to an acid experience or a feverish vision that alters you in ways you can’t fully express.

One of the most unsettling scenes in the movie occurs when Isaiah has Cameron conducting training sessions with a group of unidentifiable individuals. These individuals, without clear identities and with an eerie presence, resemble an odd religious group. The attire plays a crucial role, successfully creating a mix of ordinary and terrifying elements in each scene, confusing the audience with just subtle signs that everything is not as it seems on the surface.

These individuals are preparing for a harsh, nearly mystical form of football that mirrors the intense passion found in the real-world obsession with the game. When one of the free agents offers to serve as a target for a practice drill, the pressure becomes unbearable. As Cameron fails to catch a pass, a football is fired at high speed toward thevolunteerHis face, causing a nauseating crack with every impact.

At its heart, HIM challenges the worship of athletes, especially in American football, where figures like Isaiah White are treated as deities while simultaneously being seen only as products by the businesspeople who control them.

Right outside the facility, a diverse group of supporters adores White with a near-religious intensity, mirroring the harmful loyalty commonly observed in actual sports fan culture. This strange, almost cult-like atmosphere is disturbing, as it’s not too different from the unsettling reality of how athletes are often regarded as gods.

In this world, football transforms into a stage of nearly ritualistic violence, where concussions and injuries are inevitable consequences. The movie examines how young Black athletes, such as Cameron, are enticed into this system by the hope of a quick path to fame and wealth. It’s a once-in-a-million opportunity to rise above poverty, but at what price?

The connection between Cameron and Isaiah is unsettling, beginning as a traditional master-disciple relationship that gradually transforms into something more sinister. Isaiah’s guidance is a form of control, and as the movie unfolds, viewers experience the same growing discomfort and suspicion that Cameron feels.

The atrocities within the compound escalate – genuine, fabricated, or a mix of both – and it remains constantly ambiguous what is transpiring with Cameron’s mind, due to the ongoing head injuries.

Yet, despite all the chaos, HIM is not solely a critique. The movie successfully highlights the appeal of football stardom, as Cameron begins as an innocent young man with a distinct set of values: God, family, and then football.

However, as his training becomes more rigorous, the lure to risk everything—including ethics—increases in pursuit of stardom. At its core, HIM poses a difficult question: when you have been conditioned to revere greatness, what becomes of your own sense of self? What occurs when you transform into the deity?

A movie filled with intense, physically demanding scenes, the most unsettling aspect might be its examination of football’s long-standing pattern of exploitation. HIM doesn’t merely condemn the sport – it reveals how it relies on inequality, utilizing the hopeful aspirations of young men to power its system.

Cameron’s path serves as a metaphor for how the system treats and abandons individuals, as though they were commodities.

Ultimately, HIM is more than just a sports film or a horror movie—it’s a disturbing look at ambition, manipulation, and the cost of success. While it may not be the most polished film of the year, it is undoubtedly one of the boldest and most unforgettable. Its eerie imagery and deep psychological elements make it a courageous entry in the genre, challenging the limits of what a sports film can achieve.

HIM is not perfect, certainly. However, it’s a movie that needs to be experienced emotionally, even if, much like football, the feeling is intense, chaotic, and at times difficult to fully grasp.

The piece was initially released on September 18.

HIM is available in UK cinemas starting October 3rd.

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