Ick Review: Joseph Kahn’s Hilarious and Satirical Perspective on the Monster Movie Genre

      Note: This review was initially published as part of our 2025 Cannes coverage. Ick is set to be released in theaters on July 24.

      In Ick, Joseph Kahn's latest genre film following 2017's Bodied and 2011's Detention, the world is ending and it seems no one cares. Kahn, who has only directed four feature films in two decades, is a recognizable figure in pop culture due to his extensive background directing music videos for major artists like Britney Spears and Taylor Swift. He also helmed 2004’s Torque, which was so poorly received that he himself jokes about it. This might explain why, after making one studio film, he has chosen to direct all his subsequent films independently, including Ick, which offers a wild take on the creature feature genre along with a biting satire of society's indifference toward existential threats.

      It's quickly apparent that Ick is distinctly Kahn’s work. The film proceeds without any studio intervention. The prologue, set in the 2000s, introduces Hank (Brandon Routh), a once-prominent high school quarterback whose career was cut short by injury, leading him to lose his cheerleader girlfriend Staci (Mena Suvari) and descend into alcoholism in his hometown of Eastbrook. Kahn presents this opening sequence with such an intense and frenzied pace that it could serve as a test for viewers' tolerance levels. The camera continuously whips, pans, and spins, packed with gags that are difficult to catch in a single viewing, while the nostalgic millennial references flood in. Within the first five minutes, we hear snippets of “Swing Swing,” “The Reason,” and “Fall For You” in rapid succession, allowing no breath between them. It’s not merely a nod to 2000s nostalgia; it overwhelms the audience.

      The montage transitions to the present day, where Hank has cleaned up his act and become a science teacher, though his students view him as an old has-been. But what about the Ick? From the start, an odd black substance, the Ick, is seen creeping from the ground and walls in the background. This unknown parasite has gradually invaded the world, yet it goes largely ignored as it doesn’t seem to pose a threat (many don’t even realize it’s been there for years). The only ones concerned are Hank and his student Grace (Malina Weissman), who is also Staci’s daughter. Their worries are validated when the Ick abruptly becomes active, starting to infect and consume anyone in its path.

      The hectic pace, restless camera work, and swift editing do not let up as the film transitions into monster-movie territory. In fact, the chaos escalates when the Ick starts causing destruction in the town. This overwhelming spectacle may leave some wanting to flee. Regardless of personal preference for Kahn's frenetic style, it is undoubtedly his own, filled with affectionate nods to films like The Blob and The Faculty, while borrowing from the structure of 1980s blockbusters. Kahn returns to the same playful approach seen in Detention, seamlessly blending cultural references over decades and serving them up with humor. Those who are willing to embrace this style and ride out the chaotic moments will find Ick to be an enjoyable experience. In an era of heightened awareness and an abundance of content, Kahn capitalizes on the moment and pushes it to the limits.

      However, this approach also leads to imperfections, especially as Kahn takes on the role of an equal-opportunity offender. Like many monster films, the Ick serves as an allegory, symbolizing societal passivity and selfishness during crises. When government officials finally arrive to assist the town, a spokesperson (Debra Wilson from MadTV, making a comedic cameo that adds to the millennial nostalgia) does not receive the response they anticipated. The townspeople reject the idea of isolating themselves from the Ick, expressing outrage at the suggestion, and canceling the high school prom is out of the question. It's absurd, paralleling Kahn's critiques of “woke culture” and virtue-signaling among the students. The humor may vary in effectiveness, but moves so quickly that nitpicking feels futile in a film that resembles a live-action cartoon. Additionally, the underlying allegory subverts typical tropes associated with this subgenre.

      The main challenge Ick faces is maintaining its momentum. In Detention, Kahn blended multiple genres so intricately that it felt like several films were occurring simultaneously. In Ick, he sticks to a single narrative thread, except for a subplot concerning Hank potentially being Grace’s father. Eventually, the film struggles to escalate further; the climactic attack during the prom doesn’t heighten the tension like the superb attack scene at the house party in the opening act. Nevertheless, Ick's delightfully entertaining first half earns it considerable goodwill, and Kahn's