I watched Cujo and I didn’t like it. 2/5
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Cujo, directed by Lewis Teague, is a film that held the promise of a suspenseful and terrifying experience centered around a rabid St. Bernard. However, despite its potentially harrowing premise, the film falls short of delivering the true horror it could have achieved.
One of the film’s redeeming qualities lies in its practical effects, particularly in bringing Cujo to life. The makeup and animatronics used to create the rabid dog are commendable for their time, adding a sense of realism to the titular character’s menacing presence. Dee Wallace, who plays Donna Trenton, also delivers a commendable performance, effectively conveying the fear and desperation of a mother trapped in a life-threatening situation.
Yet, despite these merits, Cujo is ultimately hampered by several significant flaws. The film’s pacing is a major stumbling block, particularly in the first half. The prolonged setup, focusing on the Trenton family’s personal struggles and the introduction of supporting characters, feels excessively drawn out. This slow start diminishes the viewer’s engagement, making it harder to invest emotionally in the characters.
Furthermore, Cujo suffers from a lack of meaningful character development. While Donna Trenton receives some depth, other characters feel underutilized and one-dimensional. Her husband, Vic (played by Daniel Hugh Kelly), and the mechanic, Joe Camber (played by Ed Lauter), both possess potential for deeper exploration, but are ultimately relegated to secondary roles with limited impact on the overall narrative.
The film’s setting, a remote farmhouse, provides a suitably isolated backdrop for the unfolding horror. The vast, open surroundings contribute to a sense of vulnerability, amplifying the tension as Donna and her son Tad (played by Danny Pintauro) are trapped by Cujo’s relentless aggression. The cinematography effectively captures the claustrophobia and helplessness of their situation.
However, the film’s climactic showdown with Cujo is where it falters the most. The final confrontation lacks the visceral intensity one would expect from a film centered around a rabid, terrorizing dog. The suspenseful build-up doesn’t pay off in a way that maximizes the potential horror, leaving the viewer somewhat underwhelmed.
In conclusion, Cujo (1983) is a film that falls short of realizing its full potential as a canine-centered horror. While it benefits from practical effects and a committed performance from Dee Wallace, it is hampered by pacing issues, limited character development, and a climactic confrontation that fails to deliver the expected terror. Ultimately, Cujo remains a missed opportunity in the realm of animal-centric horror films.