Mena Massoud of “Aladdin” fame vies to steal most scenes because the deranged and diabolically bloodthirsty Jude, who jogs my memory of Robbie Amell’s overexcitable Max from McG’s cult horror-comedy “The Babysitter.” Between Massoud, Olivia Scott Welch as manipulative ex-Blackvale scholar Maisie, and Laurent Pitre because the weasely Doug, three of the 4 killers are going excessive with their villain personas which is a delight to audiences who’re okay with full of life caricatures. Derek Johns because the burly muscle Grant completes the gang, filling out the silent however lethal position with hulking intimidation — a obligatory counterbalance to the animated lunatics in his posse. They’re giving Tarantino’s tackle cultists in “As soon as Upon a Time in Hollywood,” as they bathe in Christmas lighting whereas period-tuned rock information set the temper for impending slaughters. It is a extra cartoonish characterization of psychopaths that performs for pitch-black humor, which excels so long as that is your type of sicko.
On the opposing aspect, Chloë Levine stays an actress who regularly stands out in any venture. She made such a splash with performances in “King Jack” and “The Transfiguration” and continues to evolve into what ought to grow to be a family identify in “The Sacrifice Sport.” Levine could make us care so deeply for her characters, whether or not Rose generates empathy as a compassionate caretaker when lifting Samantha’s spirits with secret pie crust components or conveying concern by means of intensely expressive eyes when fleeing from Jude’s crazed cronies. Madison Baines does plenty-good work because the mousier Samantha, and Georgia Acken takes definitive management of “The Sacrifice Sport” as Wexler steers the narrative into uncharted territory, but I need to particularly spotlight Levine as an actress whose star energy appears limitless based mostly on her rising resume. “The Sacrifice Sport” is simply another reason why.