❄️1/5
A masterclass in how not to write a thriller about kidnapped women.
I went into Ski Trip expecting a psychological thriller. With some skiing. What I got was a baffling chain of irrational decisions, flat characters, and a plot that escalates from absurd to insulting.
Three women are deliberately run off the road, witness a murder, kill multiple attackers, and flee through a forest … only to show up at one of their boyfriends ski chalet, lie about everything, have a shower, dry their hair, take a nap, pitch a business plan, and flirt with the guy. Yes really.
Later, after being physically assaulted, auctioned off, sexually abused, and locked in a freezer, they still somehow find the time to eat a load of cake, make sure they pick cute ski outfits to escape in. Don’t escape on the motorized ski mobiles, going back in to the chalet, so they can escape on skis…yeah that’s totally a better idea.
At no point do they ask the nerdy friend - who is constantly playing games on her phone - to actually use her phone to call the sodding police!! Because she’s obviously in on it. Cue the ‘psychological twist’ Because spoiler alert - or not so spoiler alert because it’s glaringly obvious - the nerdy friend is a bad guy.
That’s not even the worst part…
The worst part? The final scenes involve escaping via skis, killing a third attacker, then voluntarily getting into a car with a woman who was literally trying to buy them earlier.
The fmc’s reaction: “The police will get in touch eventually.” Not, “I should probably go to a hospital.” Not, “Call the police now.” Just… back to the dorm for a nap. Trauma, apparently, is something to sleep off.
There’s a way to write tension and trauma with nuance. This isn’t it. The female characters felt like caricatures, written without a shred of insight into how women might actually respond to violent, degrading, life-threatening events. Their reactions were either bafflingly blasé or so tone-deaf it pulled me straight out of the story.
This could’ve been a gritty, psychological escape thriller. Instead, it reads like an action script written on autopilot. One that forgot its protagonists are meant to be people, not plot puppets.