Avis des critiques

"Cuckoo" is a wild ride from beginning to end and chaotic in the best possible way, with only a few vague and/or dropped plot points that don't detract from the fun of the whole... You'll never look at birds the same again.

[Cuckoo] is simultaneously a head trip and a head scratcher, but is never anything short of entertaining... If the initials WTF were turned into a film, Cuckoo is one of the forms it would take.

Cuckoo will most certainly not be for everyone, but for those looking for a horror film that draws you in just as it defies any of your expectations for where it is supposed to go, it’s hard to think of a trip this year you’ll find that is as bold and bonkers as this one.

There are so many underdeveloped themes that it’s not hard to see what Singer was trying to achieve, and how short he falls... Bar a few interesting tricks, Cuckoo is an uninteresting brown and beige smear.

Cuckoo [is] a supernatural horror that doesn’t feel pushed to explain itself, offering a fun mashup of older, less-well-heeled filmmaking tropes. There is a nicely hammy turn from Dan Stevens and one finely tuned homage, but in Schafer it holds an ace: nailing the physical comedy and stretching her emotive face to the limit, the film is all hers.

Cuckoo throws everything at the wall and not everything sticks, but if you’re willing to surrender to its demented pleasures, there’s fun to be had amongst the baby-snatching beasts and gun-toting misogynists... Sure to be a cult classic, it’s quite literally cuckoo – and often gloriously so.

Stevens does his best and is perhaps too convincing for a film this idiotic. It fails on its own terms, as a scare-free horror flick, and only really succeeds as a conversation piece for a healthy post-screening argument.

Rather than prestige imitation-shlock, a film that coins the term “homo cuculidae” would seem to call out for the eye of an exploitation master, a Stuart Gordon-type who might give the audience something they can laugh at but which might still haunt their dreams. Instead, unable to commit to either realism or absurdity, Cuckoo largely fails to live up to the promise of its title.

[Cuckoo] can’t decide if wearing a smirk will see it through a sloppily developed plot, which keeps promising more than it delivers. With another redraft, a tauter edit, it might have snapped into focus... Mileage will vary, but it’s possible to respond to the whole film like a lab rat that would rather opt out.

The expectation that things might just begin to come together will likely be enough for “Cuckoo” to hold on to some early audience goodwill; much of it will be dissipated by the time it becomes clear that, no, this movie won’t make any sense and, no, it won’t be any fun either... only the biggest fans of [Singer's] abstruse style need apply.

There’s more than the seed of an entertainingly trippy freakout here... At its best, the movie is kind of like The Stepford Wives meets Rosemary’s Baby, with side orders of Cronenberg, J-Horror and Lynch... [Singer's] more narrative-driven sophomore feature is often just as baffling as his first. But in Schafer and Stevens, it has two fiercely compelling adversaries.

Cuckoo’s plotting is uneven and incoherent; key characters disappear for long chunks of the film, only to reappear in time for the bloodbath of a climax... But while it is messy and frequently bewildering, Cuckoo does at least live up to its title, with a commitment to gleefully bonkers twists and a collection of entertainingly deranged supporting performances.