If you’re a fan of contemporary thrillers that explore class and social structures, you’ve probably seen a trend. Movies and shows like Opus, The Menu, and Glass Onion have built on a high-concept formula where a group of wealthy, often snobby characters is transported to a remote location, only to find themselves in danger. This premise, while familiar, offers a perfect backdrop for suspense and the darkly comedic examination of human nature.
Hell Motel, a Canadian limited series created by Aaron Martin and Ian Carpenter (known for Slasher), takes a crack at this popular formula, but it does so with a bit of a twist. From the very start, the show reveals that it’s not interested in exploring the “eat the rich” narrative or anti-capitalist themes. Instead, it’s more focused on creating a classic murder mystery vibe, reminiscent of Agatha Christie’s whodunits. While the genre is ripe for exploration in darker, more layered ways, Hell Motel doesn’t fully seize the opportunity.
Setting the Stage
The show opens with an eerie atmosphere, leaning heavily into a backstory that involves a satanic, masked killer who, three decades ago, slaughtered a couple at the newly opened Cold River Motel. This gruesome event marks the motel’s infamous history, and it leads to the establishment’s closure. Fast forward to the present day, and the once-infamous motel is now being reimagined as a macabre tourist attraction by a couple, Ruby (Brynn Godenir) and Portia (Michelle Nolden), who’ve transformed it into a haunted theme park. They invite ten quirky, horror-obsessed influencers to come and promote the new venture, hoping to cash in on the popularity of true crime.
These influencers are a diverse bunch, including:
- Hemingway (Eric McCormack), a sassy chef with a flair for the dramatic.
- Blake (Atticus Mitchell), a true-crime novelist and mass murder survivor.
- Crow (Shaun Benson), an eccentric, Criss Angel-like medium with a wild personality.
- Andy (Jim Watson), a true crime academic who’s obsessed with the morbid.
- Adriana (Genevieve DeGraves), a sociopath with a bizarre fixation on serial killers.
- Paige (Paula Brancati), a washed-up actress who’s grown weary of playing the victim in horror movies.
- Kanawayan (Emmanuel Kabongo), a thoughtful artist with a dark side.
With this ensemble cast in place, Hell Motel sets up its central mystery: a masked killer who returns to the Cold River Motel to claim his next victim, just as the new guests are getting comfortable. The setup promises an engaging whodunit, but the show soon finds itself trapped in its own ambitions.
Comedic Promises and Early Tension
In the first episode, Hell Motel teases us with a promising tone, laced with dark humor. For instance, Hemingway prepares a disturbingly creative lamb dish in the shape of the murdered victims and serves it to the guests for dinner. Most of the guests eagerly dig in, oblivious to the macabre nature of the meal. It’s a moment that sets the stage for more darkly comedic moments. However, this playful atmosphere quickly fades when a storm leads to two unexpected visitors—a pair of RV owners looking for shelter. And from there, the show dives headfirst into a standard slasher scenario.
By the end of the first night, the masked killer strikes again, claiming his first victim, and Hell Motel starts to resemble a bloody game of Among Us. The influencers, all trapped in the isolated motel, now have to figure out who among them is the murderer before they become the next victim. The show’s first few episodes set up an engaging mystery, but the tension quickly begins to fray.
Slasher Identities and Unnecessary Complexity
The series begins to lose momentum as it introduces a convoluted plot to keep things interesting. While it’s common for murder mysteries to throw in plot twists, Hell Motel overcomplicates matters by introducing subplots and character developments that don’t necessarily add anything meaningful to the narrative. By the time we reach the halfway point of the season, it becomes clear that the show is struggling to maintain suspense.
The core concept of horror influencers facing real-life horror and reacting with exaggerated, often hilarious behaviors is one that could have carried the show to a more satirical place. But Hell Motel drops the ball. Instead of honing in on the comedy, it shifts its focus to the backstories of its characters, which, while well-intentioned, ends up making the story feel bloated and distracted. The decision to delve into character arcs makes sense for a few of the characters, whose backstories are compelling, but for others, it feels like a futile attempt to add depth—especially when they’re about to be killed off.
By introducing these backstories just before each character’s grisly demise, the show leaves little room for meaningful character development. It’s a wasted opportunity, making the narrative feel drawn-out and unnecessary. What Hell Motel really needed was a tighter format, maybe something more in line with a 22-minute, punchy structure. Instead, it forces its characters to linger, and the show suffers because of it.
A Lack of Central Anchor
One of the most significant issues with Hell Motel is its lack of a central anchor to guide the narrative. With such a large ensemble cast, it’s easy for the plot to feel unfocused and chaotic. There are moments where the show seems to be building up a protagonist, particularly with the character of Paige (played by Paula Brancati). In the opening episodes, Paige seems poised to be a confident, perhaps even heroic figure. However, as the series progresses, her character is sidelined, leaving a gaping hole in the story. Without a strong central lead, Hell Motel struggles to keep the viewer engaged.
Most of the cast, many of whom are familiar faces from Slasher, fit comfortably into their roles, playing exaggerated versions of themselves with confidence. But as entertaining as the characters are, they can’t compensate for the show’s lack of direction. It becomes clear that the ensemble needed something—someone—to pull it all together, a guiding figure akin to Benoit Blanc from Knives Out. Without that central force, the show drifts aimlessly, losing its ability to sustain the suspense and intrigue.
A Missed Opportunity
In the end, Hell Motel’s biggest flaw lies in its inability to fully capitalize on its intriguing premise. It starts strong, promising a darkly comedic slasher that combines the thrill of a murder mystery with the absurdities of a group of horror-obsessed influencers. But as the series progresses, it becomes increasingly bogged down by a self-serious tone and an overcomplicated narrative. The show’s pace slows to a crawl, and its attempt at character development often feels hollow, especially when the characters are dispatched in increasingly gruesome ways.
While Hell Motel does deliver some satisfying moments, particularly in its blood-soaked kills and occasional moments of dark humor, it ultimately fails to live up to its potential. The promise of a clever social commentary, coupled with the opportunity for satire, is overshadowed by the series’ inability to embrace its comedic potential. It’s a horror thriller that might’ve worked better as a tight, sharp, and thrilling limited series—but instead, it stretches itself too thin and loses its focus.
In the end, Hell Motel is a missed opportunity. With a little more focus, some tightening of the narrative, and a clearer sense of direction, it could have been the next big thing in the genre. Instead, it’s just another show that sets out to be something more and ends up lost in its own ambition.
