I n this retirement home horror, Pete Davidson plays Max, a graffiti artist who must work in a plush-yet-spooky facility as part of his community service. This deal is worked out by his foster father as a last-ditch effort to keep him out of prison; he’s been spiralling towards the drain since the death of his older foster brother, who apparently killed himself, and whose memory haunts Max’s dreams.

You don’t cast Davidson for his everyman qualities as he’s not quite your average Joe; he’s much more plausible as, say, a TikTok star or a charismatic drug dealer. He’s also become something of an avatar for youth, one of those thirtysomethings that can credibly evoke the sensibilities of those more than 10 years his junior. It makes sense, then, to see him in this role as the one relatively

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