Synopsis: Siblings Megan and Noah discover a dead body, long buried in their parents’ basement, sending them down a rabbit hole of crime and murder.
Director: Alex Winter
Stars: Josh Gad, Kaya Scodelario, Anthony Carrigan, Billie Lourd
Directed by Alex Winter and written by Michael M.B. Galvin, Adulthood is a darkly comic thriller that premiered at the Toronto International Film Festival before its U.S. release in September 2025. The film stars Josh Gad and Kaya Scodelario as siblings Noah and Megan, who discover a long-buried corpse in their parents’ basement. What starts as a clever setup for a noir‑tinged satire quickly spirals into chaos, leaving viewers both intrigued and bewildered.
The concept is interesting: ordinary siblings stumble upon a crime that forces them into a spiral of cover‑ups, lies, and escalating violence. Early scenes capture a mix of suspense and dark humor, with Gad and Scodelario delivering strong performances that ground the absurdity in relatable family dynamics. Billie Lourd and Anthony Carrigan add flavour to the ensemble, with Carrigan in particular standing out as a menacing yet humorous presence.
However, as the film progresses, the narrative begins to unravel. Each new twist feels less like a natural escalation and more like a fever dream. The siblings’ descent into increasingly bizarre criminal behavior stretches credibility, and the script introduces plot points that feel disconnected from the original premise. What could have been a sharp satire on family secrets and moral compromise instead becomes a jumble of implausible events.
While Adulthood has moments of charm and swagger, it often veers into incoherence. The detective work depicted is laughably unrealistic, and the resolution of key character arcs—such as Carrigan’s Bodie Geller—feels abrupt and unsatisfying. The film hints at deeper family secrets but never fully explores them, leaving threads dangling and audiences frustrated.
Visually, the film is competent, with Christopher Mably’s cinematography capturing the claustrophobic interiors of the family home. Paul Leonard‑Morgan’s score adds tension, but neither can compensate for the increasingly nonsensical plotting. By the final act, the film has lost sight of its initial strengths, trading suspense for confusion.
Ultimately, Adulthood is a film of squandered potential. Its premise is compelling, and its cast is talented, but the story collapses under the weight of its own excesses. What begins as a promising exploration of crime and family dysfunction devolves into a muddled narrative that leaves viewers scratching their heads. It’s a reminder that even the most intriguing concepts need disciplined storytelling to succeed.
Grade: C-
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