Iliked “Cabin in the Woods” (2011), but I’m uncomfortable with how it has risen to classic status in the horror genre. Wild genre shifting and brazen disregard for the illusion of fear you’ve created for the audience is eye-opening the first time but it would be an unappealing trend. Luckily, films like that aren’t the norm, and if “Cabin” shows how they can go right, “The Hunt” shows how they can go wrong.
Creator Damon Lindelof has taken the lessons learned on “Lost” – where time-jumping was a sometimes fun, sometimes hoary narrative device – and beautifully applied them to the nine-episode “Watchmen” (2019, HBO), a sequel to the comic/movie of the same name. Time is central to the “Watchmen” saga, the primary image of which is a clock counting down to the 1980s nuclear doomsday, especially with Dr. Manhattan existing outside of time as we mere mortals perceive it.