The moment Lucy’s tiny hand brushes against the green light emanating from the well, There’s Something Wrong with the Children (2023) shifts from a benign camping trip into something far more unsettling. Director Roxanne Benjamin and writers T.J. Cimfel and David White aim to breathe new life into the creepy kid trope, but their Blumhouse production stumbles in execution despite moments of genuine tension.

The film follows Margaret (Alisha Wainwright) and Ben (Zach Gilford), who join longtime friends Ellie (Amanda Crew) and Thomas (Carlos Santos) for a weekend getaway with their two young children, Lucy (Briella Guiza) and Spencer (David Mattle). The story unfolds deliberately, taking its time to establish the group dynamics and the idyllic setting before introducing the first hints of something amiss. This slow burn is intentional, but it also makes the film’s runtime feel stretched in the early acts.

The kids’ fascination with the well in the cave feels like an innocent curiosity at first, but Benjamin lingers on their wide-eyed stares just a beat too long, planting seeds of dread. The film’s opening act relies heavily on atmosphere and subtle visual cues to build unease. The cinematography is competent but unremarkable—wide shots of the woods and tight close-ups of the children are effective enough, if not particularly innovative.

The midsection of the film is where Benjamin’s direction truly excels. Once Ben begins to suspect that Lucy and Spencer are not what they seem, the tension ratchets up significantly. A standout sequence involves the children serving Ben bug-infested snacks with unnervingly sweet smiles. The sound design here is particularly effective—every crunch of a leaf or distant whisper feels heavy with implication. Gilford’s performance shines in these scenes, conveying Ben’s growing paranoia and desperation as he tries to convince his friends that something supernatural is at play.

The film also explores themes of parental responsibility and the erosion of trust within friendships. As tensions rise among the adults, Ellie and Thomas accuse Ben and Margaret of being irresponsible with the children. This dynamic adds a layer of complexity to the horror, as the adults’ personal conflicts distract them from recognizing the true threat. However, these thematic elements are underdeveloped and often feel like afterthoughts rather than integral parts of the narrative.

The performances are solid but unspectacular. Gilford carries much of the emotional weight as Ben, effectively portraying both desperation and growing paranoia. His scenes with Wainwright have a palpable chemistry, making their partnership the most compelling dynamic in the film. Wainwright is compelling in her quieter moments, though her arc lacks depth. Crew and Santos provide solid support, but their characters feel underdeveloped compared to Ben’s. The real standout is Briella Guiza as Lucy, whose eerie calm and unsettling smiles make her a genuinely creepy presence.

The film’s originality lies in its slow-burn approach to the supernatural, subverting expectations by making the adults the ones who refuse to believe the horror unfolding before them. However, this angle isn’t explored deeply enough, and the eventual reveal of the green light as a malevolent force feels underwhelming after such a buildup.

As a horror film, There’s Something Wrong with the Children fits neatly into the genre’s tropes but doesn’t push boundaries. It will likely appeal to dedicated horror fans who enjoy slow-burn suspense and creepy kid tropes, but it lacks the originality or depth to stand out in a crowded field. Compared to stronger recent horror releases that balance tension with sharp storytelling, this film feels more like a missed opportunity.

Ultimately, There’s Something Wrong with the Children is a serviceable horror movie that delivers moments of genuine unease but falters under uneven pacing and underdeveloped characters. The midsection of the film is its strongest point, but the first act drags, and the third act unravels too quickly. While Gilford and Guiza deliver standout performances, the supporting cast feels underutilized.

The film’s pacing issues are particularly glaring. The first act takes too long to establish the setting and characters, making the eventual payoff feel rushed. The climax—where Margaret drives straight at Ben and the children—lacks the build-up needed for a truly satisfying resolution. Additionally, the film’s themes of parental responsibility and trust are interesting but underdeveloped, leaving them feeling like surface-level additions rather than integral parts of the story.

Despite its flaws, There’s Something Wrong with the Children has its moments. The sound design is effective in creating tension, and Benjamin’s direction excels in the film’s midsection. However, these strengths are not enough to elevate the film above its more formulaic peers.