If nothing else, Onslaught stands as proof that director Adam Wingard, making his way back to lean, mean originals after a decade in the IP mines, hasn’t lost his touch for the sort of deliciously vivid details that suggest motherlodes of stories unto themselves.
In the first few minutes alone, we get grinning jack-o’-lanterns lined up in a dusty canyon, exploding one by one in target practice. A knife slicing through gnarled, unpeeled carrots that look like nothing so much as human fingers. An ancient Nazi scientist (Dan Stevens) crawling across a carpet to lick a woman’s stilettoed foot.
Onslaught
The Bottom Line
Tons of promise, not quite enough payoff.
