There’s a killer intersection between Shudder’s “Hell Motel” and that of contemporary thrillers built on class and social structures like “Opus,” “The Menu,” “Glass Onion,” flicks about a bunch of people—usually rich, snooty types—transported to a remote location where danger and death ensue. The Canadian limited series from co-creators Aaron Martin and Ian Carpenter (“Slasher”), however, reveals from the get-go that they’re not concerned with exploring an “eat the rich” or anti-capitalist motif. Instead, they treat this familiar high concept—true-crime enthusiasts from various fields imprisoned in an isolated hotel while a murderer is at large—in the style of an Agatha Christie murder mystery, ignoring that it could have been so much more.
The series opens with a menacing aura, establishing the backstory of a satanist masked murderer who massacred a couple at the newly established Cold River Motel three decades ago. The motel shut down while the case became an infamous staple in true crime history. In the present day, couple Ruby (Brynn Godenir) and Portia (Michelle Nolden) have transformed the Cold River Motel into a theme park, inviting ten quirky influencers and tastemakers with a horror-themed following to promote their new venture.
These guests include a sassy chef named Hemingway (Eric McCormack); Blake (Atticus Mitchell), a true crime novelist and a mass murder survivor; and an erratic Criss Angel-like medium named Crow (Shaun Benson). Along with them are Andy (Jim Watson), a true crime academic; Adriana (Genevieve DeGraves), a sociopathic hybristophiliac who is eager to find her 12th killer to bone; Paige (Paula Brancati), a washed-up actress tired of playing murder victims in horror roles; and Kanawayan (Emmanuel Kabongo), an introspective visual artist.
The initial episode capitalizes on the impression of a darkly comedic tone by incorporating amusing visual gags. For example, Hemingway prepares a lamb dish in the form of the deceased victims of the massacre and serves it for dinner—most of the guests dig in enthusiastically. Yet, that comedic promise halts as two RV owners (Yanna McIntosh and Gray Powell) arrive in the midst of a storm searching for shelter. Within night one, the masked killer returns and claims its first victim. As the body is discovered, “Hell Motel” takes on the feel of a horror-themed version of “Among Us,” as the influencers attempt to find the murderer among them and make a safe getaway from Cold River.
“Hell Motel” plays its strongest cards fairly early. The showrunners reveal some slasher identities to the audience. Still, they also introduce some convolution to the already extensive ensemble, all in the hopes of maintaining the show’s momentum for eight episodes. By the halfway point of the season, the strain to keep the suspense going becomes obvious, dragged down by a self-serious tone. The concept of horror influencers encountering a horror situation and pouring lighter fuel on the fire through their worst tendencies is deeply amusing, but it never really gets off the page. “Hell Motel” completely abandons it and doesn’t seem to attempt comedy in areas that could’ve prospered from it.
Instead, it dedicates time to the backgrounds of its ensemble, adding depth beyond their surface-level facade. It is an admirable decision, at least for a few of its players, whose backgrounds warrant further investigation. However, for others, it is typically made just before every respective character’s gruesome demise, rendering the process entirely pointless in terms of character development. Such choices serve to emphasize the strain of the drawn-out narrative. It’s a show that would have been better served in a 22-minute format. It is most effective when it executes blood-soaked, practical, and effective kills that frequently elicit an audible reaction.
Furthermore, the ensemble-centric “Hell Motel” lacks a central anchor to hold the series together. There are instances of potential, particularly with the captivating Brancati, who is teased to become a confident heroine in the first episode. However, she receives little attention in any of the following hours. The ensemble, which mostly consists of “Slasher” alums, all ease into their respective roles with confidence. Nonetheless, it is in desperate need of a Benoit Blanc to hold it together.
In the end, “Hell Motel’s” self-serious tone, plodding pace, and lack of a central lead keep this horror thriller series from living up to its potential as a worthwhile genre destination.
All episodes were screened for review.
