Punch (2023) Review

Punch, directed by Andy Edwards, dives headfirst into the world of British horror with a daring and audacious approach. This home grown independent film dares to transgress the boundaries of traditional horror by transposing the American slasher archetype onto the backdrop of an English seaside town, resulting in a chilling and thought-provoking cinematic experience that packs a ‘punch’.

Amidst the cliffs, beaches, fairgrounds, piers, and fish and chip shops that define the quintessential British seaside town, Punch unveils a veneer of nostalgia concealing a palpable rot within the community – something very familiar to anyone acquainted with the British coast. Closed shops, vagrant addicts, polluted seas, and a pervasive sense of neglect paint a grim picture. The story begins with Frankie (Alina Allison), an 18-year-old schoolgirl grappling with despair, contemplating a suicidal leap despite having her whole life ahead of her. Her return to the town, after a stint at university, unravels the stark contrast between her aspirations and the grim reality of her hometown and home life.

Frankie’s fervent desire to escape the clutches of her decaying seaside town and the oppressive grip of its older generation mirrors the broader theme of a modern Britain grappling with its own divisions and uncertainties. The film ingeniously employs Mr. Punch, a character derived from the classic British puppet show Punch and Judy, as its slasher villain. This audacious choice delves into centuries-old puppeteering traditions associated with themes of domestic abuse, sadistic cruelty, violent misogyny, and patriarchy, enriching the narrative with layers of depth and social commentary. Anyone familiar with the puppet show from their childhood will already associate some level of menace with this character, and for this reason it’s a great choice a club-wielding antagonist

Punch remains true to well established slasher roots as the titular killer, donning a Punch mask, gleefully dispatches young victims in brutal and gruesome fashion while taunting them with a voice reminiscent of Mr. Punch’s distinctive squeak. It’s a skillful blend of dark humor and horror, akin to Freddy Krueger’s quippy dialogue in the A Nightmare on Elm Street films.

The film’s strengths lie in its unflinching exploration of the tensions within contemporary British society. It weaves a narrative that cleverly ties traditional notions of Britishness to collective violence against outsiders. And it succeeds in shedding light on the darker aspects of British culture, all while maintaining its identity as a slasher film.

And the film looks and sounds the ticket. Visually, Punch captures the essence of an authentic seaside town through its on-location shooting. The film showcases arcades, chip shops, pubs, and boatyards, adding to its overall charm. However, the cinematography, while occasionally impressive, does falter a little in key murder sequences, with the dark setting and close quarters altercations sometimes making it hard to see what’s going on.

Although there is plenty of blood and violence, where Punch falls short when compared to say, Terrifier (which it has been likened to in press materials) is the imagination. Appearances of our villain are often predictable and kills aren’t imaginative enough, making Mr. Punch as threatening as a thug with a bat, but lacking the supernatural element that makes other horror icons unforgettably terrifying. As Punch progresses, it also flirts with conspiratorial themes, made popular by other British films like Hot Fuzz and The Wicker Man. Whether or not this is a good or bad thing is probably more down to the taste of the person watching.

The performances in Punch are a mixed bag. Kierston Wareing and Jamie Lomas bring their gravitas to the cast, portraying their characters with intensity, especially in the film’s final act. Alina Allison shines as Frankie, making a memorable debut in her feature film career. The younger cast members deliver serviceable performances, but the film’s early dialogues lack subtlety, with too much exposition that could have been shown rather than told. To a great extent, the film is over-complicated by surplus back-story and this makes the first half harder work than it needs to be.

Punch offers a unique take on British slasher horror, blending traditional puppetry with contemporary societal commentary. While it occasionally stumbles in its execution and character development, it’s a good idea that delivers an entertaining thought-provoking experience. It’s also very encouraging to see a marked uptick in the number and quality of British horror films, and Punch is an important part of this new wave.

If you’re in the mood to check out a fresh and daring addition to the British slasher scene, Punch is worth a watch.

Movie Rating:

Punch trailer