In the early 2010s, no one showed more promise as a filmmaker than writer-director Adam Wingard. The young genre filmmaker from Tennessee had made a name for himself after the success of his break out films You're Next (2011) and The Guest (2014, one of the best films of that year). But much like many modern directors, Wingard took his talents to the cinematic worlds of big budget, existing IP, which saw him make Blair Witch, the third film in the franchise, the live-action Death Note, based on the popular Japanese manga. In this decade, he's explored the thrills and spectacle of two Godzilla vs. Kong films, making his mark within two of the biggest characters in the history of cinema, showcasing ridiculous action mixed with even more outrageous world building.
After nearly a decade of being inside the studio machine, Wingard, alongside his screenwriting partner Simon Barrett, have returned to form with his latest film, Onslaught, an action-packed, kinky, bloody, paranoid driven machine within the same universe as The Guest; a full display of the promise he once showed us, just more mature now, speaking on themes of how our government and institutions want to harm us more than hurt us, and see humans as collateral damage more than as assists. Starring Adria Arjona, Drew Starkey, Reginald VelJohnson, Rebecca Hall, and Dan Stevens, Onslaught is one of the best action movies of the year, proving that Wingard is still a highly original voice that is needed in creating perfect, throwback action-horror flicks we just don't get anymore, and also showcasing why Arjona is a badass movie star.
In my conversation with Wingard, we spoke about his journey to make Onslaught, what he learned about himself when making studio films, and why this was the right time to head back into the previous cinematic universe he and Barrett worked in before. We also discussed his research into cults, super soldiers, lack of institutional trust, and how the power-hungry characters in the film explore and exploit their own kinks. In speaking with him about every aspect of the film, working with his cast, and looking at his place in the world of independent filmmaking, a joyous energy shined out of him, much like the night before when he introduced the film before a packed audience at the Alamo Drafthouse on South Lamar in Austin, Texas. It's nice to tell that the writer-director is back making movies in his comfort zone, and we are lucky to see Adam Wingard back to working in a sandbox he created, all the while waiting to see how he's going to blow it up with some killer needle drops along the way.
