Until I happened to research this film a little bit (after the fact) I was unaware that Five Nights at Freddy’s is based on a video game.  I didn’t know, and this is the first video game movie that really doesn’t feel like a video game movie to me.  It is a weird horror movie with an actual story, one that I felt actually got in the way of the action during its first half.  The story elements finally coalesce during the second half, providing a coherence and, perhaps, meaning that I didn’t think it could or would achieve.

Emma Tammi’s film centers on a troubled young man, Mike, desperate and looking for a job.  Mike (Josh Hutcherson) is so desperate that he eventually takes a night security job patrolling the abandoned family pizzeria “Freddy Fazbear’s,” a creepy old place with clumsy animatronic characters and a dark past.  Mike quickly learns that the place holds a special connection with his own family, which endangers his younger sister Abby (Piper Rubio), and is aided in his efforts to protect her by gung-ho police officer Vanessa (Elizabeth Mail).  What they uncover is far beyond their ability to handle.

I appreciate that this movie takes its time setting its story and isn’t ultra violent in its telling.  It is just creepy enough to be unnerving, using its intriguingly decrepit pizzeria / amusement area with some aplomb.  I was initially bothered by Mike’s haggard condition but the story explains why he is the way he is and once it makes sense it does contribute a deeper dimension.  The film also explores the importance and relevance of dreams in various ways, which may be another reason I never connected it to a video game structure.  Kudos to the filmmakers for broadening the concept and giving it a real cinematic sensibility.

That being said, I had some quibbles about the small size of the cast and immediate situation (too insular perhaps?), Vanessa’s odd knowledge of everything (explained later in the story) and most of all, because nobody seems too surprised that these gigantic animatronics are coming to life and killing people.  Whatever shock is generated wears off far too quickly on these characters and the ultimate explanation for everything is anything but ordinary.  I have trouble when huge mind-blowing concepts are introduced and characters just go with the flow just so the routine story elements can move forward.  That happens all too often in modern movies (The Meg and its sequel, for instance; giant megalodon sharks are taken for granted), and it bothered me here.  Freddy’s sequel is due this year, by the way.  ☆ ☆ 1/2.  30 April 2025.