REVIEW: ‘HIM’ is a game that loses its soul – The Eagle Online

For many Americans, football is more than just a sport: it’s a culture. With culture comes shared beliefs, values and customs that are passed from generation to generation. Most importantly, culture often requires sacrifice. What if becoming the greatest came at the cost of your soul? 
“HIM,” directed by Justin Tipping and starring Marlon Wayans and Tyriq Withers, is a sports drama with a supernatural twist. 
Backed by Monkeypaw Productions — the studio behind acclaimed films like “Get Out” (2017), “US” (2019), and “BlacKkKlansman” (2018) — I anticipated that this film would deliver an equally moving, thought-provoking exploration of race and identity. Promotion for the film highlighted the notable cast and Jordan Peele’s involvement, which raised my expectations even higher.
The plot follows protagonist Cam Cade (Withers), an up-and-coming quarterback. When he suffers a dangerous head injury before entering the pros, he’s offered a chance to train with his aging football superstar idol, Isaiah White (Wayans), at his isolated compound.
As training continues, things get increasingly darker for Cam. He experiences strange visions and threats that blur the line between reality and imagination, causing him to question the price of glory.
Withers and Wayans were authentic and intense on screen. Wayans’ character, Isaiah, is incredibly complex in his switch from a charismatic mentor to something more sinister, while providing comedic disturbance. Withers provides a more vulnerable performance that makes the audience want to root for him on his dark journey. 
Visually, “HIM” stands out with surreal imagery and moody lighting that builds a tense, eerie atmosphere. The film leans into distorted perspectives, shadowy figures and sudden shifts in color to keep the audience off balance, reflecting the characters’ psychological unease. Figures are isolated in darkness or harsh and unnatural hues to amplify suspense or signal danger. These stylistic choices reinforce thematic concerns with identity, sacrifice and the boundary between the familiar and uncanny.
However, these stylistic strengths can’t fully compensate for its inconsistencies elsewhere. 
The film’s pacing often drags, and its genre-hopping between psychological thriller, sports drama and religious horror feels unfocused. At times, the film is unsure of what kind of story it wants to deliver — an exploration of football’s moral decay or a supernatural cautionary tale. 
While the promotion of “HIM” promised terror and suspense, the final product feels muted. The scares are too sparse and uncanny, and the tension too uneven. And like any thriller, sound plays an important role — but here, the overuse of ominous cues and abrupt silences sometimes feels forced rather than frightening.
Though the film plays with religious imagery, twisting familiar sports rituals into acts of faith, it often leans on symbolism to do the heavy lifting that the script doesn’t. However, there is great symbolism used throughout the film. Blood, which in Christian communion symbolizes the blood and sacrifice of Jesus Christ, is reimagined as a recovery and performance enhancement — a dark sacrament. The film suggests that, due to the pressure of fans and society, athletes must give and sacrifice more until the game becomes something almost spiritual.
The title works both ways: in sports slang ‘him’ refers to the ‘chosen one,’ or the GOAT (greatest of all time), while in religion, it refers to God, the ultimate authority. Cam is portrayed as a savior, seated in Christ’s place at the last supper, as those around him are not meant to follow him, but to assist in his sacrifice. 
The film makes it clear that the pursuit of greatness is far from divine; it requires utmost sacrifice and destruction, but above all, it is demonic. “HIM” exposes greatness as a false religion, seeped in blood, exploitation and ruin. What could have been a sharp commentary on faith and fame instead feels muddled by unclear, strange and superficial plots.
Even the social commentary is uneven. The story alludes to football’s complicated relationship with race. Briefly addressing the role of Native Americans in the sport’s history and their role as a degrading mascot, the film also hints at the way in which rich old white men exploit the sacrifices of young Black men for their gain. These themes surface in powerful moments but are quickly abandoned, leaving the film’s message half-delivered and its ending emotionally unsatisfying.
“HIM” deserves credit for its ambition. It’s an interesting concept, but its execution fails to match its ideas. Scattered symbolism and themes are thrown at the audience without being fully developed or resolved. It’s a movie that wants to say something profound about power, race and sacrifice, yet gets lost in its own ambition. 
Despite strong performances and striking visuals, “HIM” never quite finds its footing. Football fans with a respect for thrillers may appreciate the film enough to add it to their watchlists this fall, although it ultimately fumbles before reaching the end zone. 
This article was edited by Alfie Pritchard,  Jessica Ackerman and Walker Whalen. Copy editing done by Sabine Kanter-Huchting, Arin Burrell, Ariana Kavoossi, Paige Caron, Andrew Kummeth and Ryan Sieve.
Section 202 hosts Connor Sturniolo and Gabrielle McNamee are joined by fellow Eagle staff member and phenomenal sports photographer, Josh Markowitz. Follow along as they discuss the United Football League and the benefits it provides for the world of professional football.

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