REVIEW: ONSLAUGHT (2026)
“Do not create what you cannot kill.”
Leaving Godzilla and Kong in the toy box, Adam Wingard returns to his wheelhouse—and, in a way, the world of The Guest. His 2011 breakout hit, You’re Next, cemented him as an exciting new voice in horror.
Fifteen years later, he goes full John Carpenter with Onslaught, delivering a bloody love letter to 1980s genre cinema.
It’s refreshing to see A24 back this kind of high-concept mashup, reminiscent of a time when these films hit theaters on a weekly basis.
Ultimately, Onslaught poses a glorious question: What if John Carpenter directed Universal Soldier in a trailer park with chainsaws?
The result is an intensely nihilistic, ultra-violent, and genre-bending buffet for action, horror, and sci-fi fans. Michael Biehn, Eric Wareheim, and Dan Stevens make great supporting appearances, but the real standout is Reginald VelJohnson—it is a joy seeing him back on the big screen.
Unfortunately, the third act falls apart, failing to deliver the epic conclusion promised by the film’s first two-thirds. This is still a very good B-picture, executed with obvious love right down to its needle drops, cinematography, and score. It just lacks the narrative meat to fully satisfy the earlier buildup.
The biggest disappointment, however, is how the script fails Adria Arjona. She makes a compelling action hero with the potential to be the next Ellen Ripley or Sarah Connor, but there just isn’t enough for her to do beyond suffering through military PTSD flashbacks.
“Onslaught” is a gnarly little film that needed a bit more scope and a bigger budget. With that said it’s a gooey, crunchy candy bar that you crave but not the decadent dessert you deserve.
6/10
#a24 #moviereview #onslaught #cinema #podcast
