This article was written exclusively for The Film Magazine by Sophie Cook of Sophie Beatrice’s Blog.
Fantasy Island (2020)
Director: Jeff Wadlow
Screenwriters: Jillian Jacobs, Christopher Roach, Jeff Wadlow
Starring: Lucy Hale, Michael Peña, Maggie Q, Austin Stowell, Ryan Hansen, Jimmy O. Yang
Fantasy Island, produced by Blumhouse Pictures, reimagines the 1970s television series as a modern horror-thriller. The premise is simple and seductive: a mysterious island run by Mr. Roarke (Michael Peña) fulfills visitors’ deepest fantasies, but every wish comes with a price. Under Jeff Wadlow’s direction the film leans into dark, supernatural elements, though it struggles to sustain tension consistently across its runtime.
Fans of Lucy Hale will find much to enjoy: she anchors the film with a layered central performance as Melanie Cole, a sharp-tongued twenty-something determined to settle a score with a childhood bully. Hale steps away from the softer roles she’s often associated with and embraces a darker, more complex persona. Her turn carries the narrative through several twists and keeps the audience invested even when the plotting falters.
Blumhouse’s involvement raised expectations after previous breakout successes from the studio, and the trailers hinted at a tense, unnerving experience. In practice, the film delivers sporadic scares and intriguing set pieces, but never reaches the psychological depth or sustained dread of the best contemporary horror. The slower middle section, which devotes time to multiple character arcs, dilutes the momentum and undercuts the potency of the central twist.
The story follows five guests invited to the island under the promise of an extraordinary getaway. Each guest has a fantasy personally tailored by the island’s powers, and each fantasy soon turns dark when the island literalizes desires in painful, unexpected ways. That inversion — wish become nightmare — is the movie’s strongest conceit, yet the execution is uneven. Some fantasies are compellingly staged, while others feel overextended and predictable.
Cinematography and production design are among the film’s best assets. Shot on location in Fiji, the island’s lush scenery and vibrant palettes form a striking contrast with the film’s sinister undercurrents. The mise-en-scène uses color and environment to emphasize the tension between paradise and peril, and several sequences benefit from strong visual composition that enhances suspense even when the script lags.
The tonal balance between horror and occasional comedy is a mixed choice. Comic relief is mainly supplied by the jokey brothers Brax (Jimmy O. Yang) and J.D. (Ryan Hansen), whose fantasy of excess — a lavish house and nonstop parties — brings levity but also disrupts the mood at times. These moments offer welcome variety and a few laughs, but they reduce the cumulative sense of danger the film tries to build.
Where Fantasy Island loses traction is in its pacing and character focus. With multiple protagonists sharing screen time, the film sometimes spreads itself too thin. Several subplots receive extended attention without sufficiently raising stakes, and as a result the central mystery and final revelations feel rushed and underwhelming compared to the careful setup early on.
Despite these shortcomings, the film has notable strengths. Lucy Hale’s committed performance gives the story an emotional core, and Michael Peña brings a steady, enigmatic presence as the island’s enigmatic host. The concept — the literal fulfillment and perversion of fantasy — remains intriguing throughout and generates creative moments that highlight the film’s potential.
In summary, Fantasy Island (2020) is an uneven but watchable horror-thriller. It succeeds most when it leans into atmosphere, visual design, and Hale’s complicated lead performance. It falters when it overextends its supporting arcs and underdelivers on the payoff. Fans of character-driven scares and those curious to see a different side of Lucy Hale will find it worthwhile; viewers seeking a taut, consistently frightening film may be disappointed.
13/24
Written by Sophie Cook
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