Groundhog’s paradise

‘Happy Death Day’ is a clockwork remix

Blumhouse Productions is becoming the A24 (“Moonlight”, “Swiss Army Man”) of mid-budget, quasi-independent horror and suspense flicks. Or at least it’s not-as-quirky, or sophisticated, grindhouse alter ego.

While Jordan Peele’s zeitgeist-capturing “Get Out” was creatively, financially, and even culturally groundbreaking, Blumhouse was also ground zero for the ongoing James Wann era of supernatural horror with “Insidious.” The production company gave rise to lucrative, stripped-down B-horror franchises like “Paranormal Activity” and “The Purge.” Then there’s weird little gems like “Creep,” “Oculus,” and the 2010 family tragicomedy “Tooth Fairy,” starring Dwayne “The Rock” Johnson—a meta-allegory for the frustrations of parental responsibility and cycles of abuse both emotional and physical, where Rock punches kids in the face and makes them hand over their own teeth. (That last part is not true.)

“Happy Death Day” is the kind of high-concept, kitchen sink slasher movie that makes you wonder how no one had thought of it already.

Tree Gelbman (Jessica Rothe) is a snooty sorority girl with aspirations to become a doctor. On the morning of her birthday, she wakes up after a bender of a party in the dorm room of a clueless nice guy, Carter Davis (Israel Broussard). Hungover and resentful that she might have slept with someone so below her, she rallies and goes on about her day, which—in a repeating, yet random confluence of events—always ends with her being murdered in more and more devious ways by a stoic, masked killer.

Realizing she’s reliving the same day, Tree is compelled to discover the identity of her constant murderer, while slowly coming to grips with why she’s an asshole.

Like her budding romance with Carter, the more we get to know Tree the more endearing, capable, and funny she becomes.  Rothe gamely brings light from of the snarkness, becoming a Veronica Mars-inspired asskicker with a heart. Broussard imbues Carter with an amiable, awkward, and nerdy charm, but it’s really Rothe’s movie to carry. While I never felt genuinely creeped out, “Happy Death Day” establishes enough tension to keep its cyclical (and somewhat derivative) nature from becoming tedious.       

Yes, it is Groundhog’s Day meets Final Destination. But writer Scott Lobdell and director Christopher Landon’s playfully twist the tropes of both of those films. The tone of referential ‘90s slashers and their red-herring amusement in baiting the audience with a whodunit conceit make “Happy Death Day” an unlikely charmer.