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Instead, Wingard and Barrett dexterously keep you on edge — the weird animal masks worn by the killers are a nice touch — while keeping an eye out for comic opportunities that arise naturally (such as a guy who refuses to die with a couple of arrows in him, not to mention half a dozen knives). There’s just enough of a satiric pinch — an appreciation for the idea that the audience might have warmer feelings for random dudes with crossbows than for self-adoring professors and filmmakers — to suggest that director and writer are as acquainted with Luis Buñuel’s “The Discreet Charm of the Bourgeoisie†as they are with John Carpenter.
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