Respond to these rapid questions in our Truth Or Dare quiz and we will tell you which Truth Or Dare character you are. Play it now.
Blumhouse’s Truth or Dare is like the “Showgirls” of post-“Scream” slasher films: it is neither campy nor emotionally involving enough to stand on its own as something more than the sum of its ungainly parts. College seniors are persecuted in this PG-13-rated horror film, in which a ghostly Truth or Date party game is used to persecute them. Truth or Date is a party game that is more menacing than Twister but not quite as dangerous as Spin the Bottle. Whether through genuine sincerity or dexterous snarkiness, it is possible to make such a campy premise work: either follow the rules or be forced to embarrass yourself and/or hurt someone else. When it came to the first option, the producers of “Blumhouse’s Truth or Dare” attempted to make their hormonal protagonists sympathetic enough that we care what happens to them when they try to impale themselves on a pool cue or gouge out an eye with a fountain pen. The problem is that director Jeff Wadlow (“Kick-Ass 2,” “Cry Wolf”) and his three credited co-writers don’t go far enough in either direction with their film’s primary impulses—humanizing their immature subjects or having them die amusingly sadistic deaths—leaving “Truth or Dare” feeling like a genre film at odds with itself.
To begin, let us assume that you should care about the teens in “Blumhouse’s Truth or Dare” if you want to enjoy the spectacle of watching them participate in a potentially life-threatening slumber group activity. There are, to be sure, a handful of scenes that serve to upend our preconceived notions of who these twenty-somethings are and what their pre-graduation lives are like, but the majority of the film is a slow burn. The problem is that many of these assumptions are based on broad generalizations that would be more appropriately applied to a fluffier high school teen sex comedy than to this film. Several different types of stocks compete for our attention. We have our heroine, of course, in the form of reserved Olivia (Lucy Hale), a morally upright, smarter-than-average blank slate who is persuaded to participate in one final pre-college spring break by her flirty best friend Markie (Violett Beane). Brad (Hayden Szeto) is a mostly indistinct supporting character whose most notable characteristic is that he is openly gay. Markie brings along a number of their mutual best friends, including Ronnie (Sam Lerner), a leering but harmless horndog, and Brad (Sam Lerner), a leering but harmless horndog.
Brad and Ronnie are the two meat puppets in the film who are the most revealingly underdeveloped. Their peers are also treated as if they were human-shaped props, as they are primarily responsible for holding the film together whenever an expository line needs to be delivered or a co-assumptions lead’s need to be questioned. These characters’ sketchy backgrounds aren’t as offensive or bothersome as they could be: hot guy Lucas (Tyler Posey) is a prize for Olivia and Markie to fight over (despite a cute one-liner that suggests otherwise), and dickish law student Tyson (Nolan Gerard Funk) has all of the bite and in-your-face attitude of a garden-variety jock, which is mildly amusing given his chosen field of study.
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Ronnie, on the other hand, is a one-note joke who screams “no homo” when he is teased with the prospect of giving another guy a lap dance before he is slapped in the face. A similar moment occurs in which Ronnie suggests that he is capable of growing out of his adolescent need to hit on any woman who comes into his path, as does Lucas. In any case, isn’t college – or a fictionalized depiction of college that we see on television and in movies – the place where young adults should learn about themselves (or perhaps about who they want to be)? Why is it that this soon-to-be college graduate is neither a villain nor a good enough person to merit more than a split second of consideration? Shouldn’t he—or, more accurately, Wadlow and his fellow co-creators—be aware of where he’s going or what he’s trying to become at any given time?
Truth Or Dare Quiz
What about Brad, do you know? The poor kid’s queerness is almost entirely defined by his apprehension about coming out to his father, who is a police officer. The reaction that Brad’s father has to him after he comes out is supposed to be surprising, but it isn’t when you consider the confusing paternal tone that defines “Blumhouse’s Truth or Dare,” which is the show’s central theme. It would be the perplexing cool dad who tries to rap with the kids about the dangers that they will face in the real world, despite the fact that those dangers are clearly cool dad’s rose-tinted memories of the perils that he faced after graduating from college.
Also, you will find out which character are you in this Truth Or Dare quiz.
It’s hard to imagine how a sentient game of Truth or Dare could be a useful parenting tool in this jumbled, not so bright environment. These bright young things are going to learn to be honest with themselves, no matter how difficult it is, even if it means hurting themselves or others in the process. Because, according to some, stabbing yourself in the eye during a job interview is a suitable punishment for failing to disclose information during the interview. And surviving trauma—such as pondering how to tell your best friend about your not-so-secret crush on their boyfriend—helps you develop more resilient characteristics.
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“Blumhouse’s Truth or Dare” isn’t all that dissimilar from sadistic horror films like the “Saw” and “Final Destination” franchises, which also center on a group of imperiled everypeople who are forced to run a perversely life-affirming gauntlet that challenges their shared misperception that they will live for an eternity. Every cruel punchline is seemingly pulled at the last minute, which means that our heroes are once again the brunt of the joke in this story. Instead of gasping in horror and delight when they are compelled to die campy—but bloodless!—deaths by an evil game you play when you’re a little bored and a little hormonal, but not imaginative or bold enough to do anything about it, we’re supposed to sympathize with these victims.
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Still, it’s appropriate that this jumbled and jumbled horror film is the first Blumhouse production to feature the company’s name in the title, as it is the first Blumhouse production to do so. Blumhouse is the production company that recently gained notoriety for its crucial role in assisting comedian-turned-filmmaker Jordan Peele in the creation of “Get Out,” which has been hailed as one of the best American horror films in recent memory. This year’s Cannes Film Festival will feature the world premiere of Spike Lee’s “BlacKkKlansman,” which will be screened in competition in the main competition.
Blumhouse is also the company that has continued to produce increasingly derivative sequels to polished, but unchallenging programmers such as the “Insidious,” “Paranormal Activity,” and “The Purge” films, as well as other franchises. “Blumhouse’s Truth or Dare” is more in line with the more formulaic horror films produced by its title company, but its creators appear to be struggling to say something more meaningful at times. Afterwards, the moment passes, and Wadlow’s film returns to its original state as an unrelenting slasher film in which cruelty is ostensibly used as a form of fatherly kindness.
For more personality quizzes check this: Pitch Perfect 3 Quiz.
