Hell Motel Review: Checking In, But Checking Out Early

There exists an undeniable cultural hunger for twisted crimes, a public appetite for making sense of the irrational through mystery and suspense. Hell Motel is a series that feeds this obsession directly, building its foundation upon the public’s fascination with real-world horrors.

The premise is deceptively simple: a group of people, each with a vested interest in the true crime industry, accepts an invitation to the reopening of the Cold River Motel. This is no ordinary establishment; it is the infamous location of a brutal and unsolved “Satanic Mass Murder” from three decades past.

Predictably, the guests find themselves trapped by a storm, and the motel’s bloody history begins to claw its way into the present. A masked figure appears, and the carefully curated weekend descends into a genuine fight for survival as a new slaughter commences.

What follows is a blunt and visceral slasher experience. The narrative fuses a pulpy murder mystery with supernatural theatrics, including Satanic rituals and morbid recreations of death. It sets the stage for a gory, self-aware horror spectacle designed for enthusiasts of the genre who appreciate their entertainment drenched in blood.

The Rhythms of Slaughter

At its core, Hell Motel is a slasher, adhering to the genre’s foundational blueprint: isolate a group of people and begin the systematic slaughter. The violence is the main event, a series of blood-soaked set pieces that recall the genre’s golden age.

These kills are practical, gruesome, and staged for maximum impact, from a particularly repulsive death in a sauna to a Satanic ritual that escalates into comical levels of carnage. The sound design is a key accomplice, its wet, blunt acoustics making each act of brutality more visceral.

While this unfolds, the series also operates as a whodunnit, with the trapped crime connoisseurs attempting to unmask the killer among them. Yet, the narrative cleverly subverts this trope by revealing crucial information to the audience early on, creating a unique form of tension where viewer knowledge outpaces that of the characters.

This structure, however, struggles under the weight of an eight-episode run. The pacing is wildly inconsistent, veering from frantic, blood-spattered action to long, drawn-out lulls, particularly in the middle episodes.

The strain to sustain suspense across the season becomes obvious, revealing a narrative that feels stretched thin. The story’s momentum falters, and one gets the sense that this bloody affair might have been more potent, more relentlessly terrifying, had it been confined to a more compact format.

A Feast of Tragedy

The intellectual project of Hell Motel lies in its examination of how pain is packaged for public consumption. It probes the murky ethics of a culture that transforms human trauma into a marketable commodity.

The series is not merely about a killer; it is about the entire ecosystem that orbits real-world atrocity. The characters are living embodiments of this critique, each representing a different justification for their ghoulish interest.

Their detachment from the human cost of violence is put on grotesque display early on when the house chef serves a lamb dish sculpted to resemble the original murder victims. That most guests dig in with enthusiasm is a damning statement on their desensitization.

The show raises unsettling questions about culpability. It scrutinizes the ways people rationalize their fascination with the macabre, casting themselves as heroes or detectives in narratives that belong to the dead. By rewriting the stories of victims, they achieve a sense of control over the chaotic nature of violence.

The series’ central conceit is to shatter this illusion. It forces its cast of detached observers to become participants, confronting them with the visceral, terrifying reality of the very thing they have turned into a passion and a profession. Their expertise and obsession are put to the ultimate test when the abstract horror they study becomes a tangible threat to their own lives.

Satire, Seriousness, and Satanism

The series begins with the promise of dark comedy, a satirical edge sharpened by its absurd situations and quirky ensemble. There is an initial sense of playfulness, a winking acknowledgment of the ridiculousness of its own premise.

Yet, this comedic energy dissipates as the narrative unfolds, gradually replaced by a plodding, self-serious tone. It is a curious choice, one that abandons the most amusing aspect of its concept: the spectacle of horror influencers being consumed by the very genre they exploit. The potential for a sharp, biting satire is left on the table.

Instead, the show leans into supernatural theatrics. The original crime was branded a “Satanic Mass Murder,” and the new killer embraces this legacy with a masked, ritualistic persona. Scenes of seances and occult ceremonies attempt to blur the lines of reality, introducing a supernatural flavor to the proceedings. The result is a significant tonal imbalance.

The grounded, intelligent critique of the true crime phenomenon sits awkwardly alongside these more fantastical elements. The story feels torn between two identities—a sharp cultural commentary and a conventional supernatural thriller—and this internal conflict prevents either one from fully landing, leaving the series with a fractured and uncertain voice.

The Final Bill

For the slasher purist, Hell Motel delivers its promised carnage; it is a series for those who find satisfaction in creative kills and a relentlessly high body count, honoring its bloody lineage with gusto. Yet, the experience is hobbled by its narrative shortcomings.

The uneven pacing, underdeveloped characters, and a script that frequently relies on generic storytelling leave the series feeling less than the sum of its parts. Its turn toward the self-serious and the thematic clash between its ideas ultimately keep the show from realizing its full potential.

The result is an ambitious but disposable horror ride. While its reflexive finale and gory set pieces provide enough engagement for a weekend watch, it is a fun, familiar diversion rather than a revolutionary new entry in the genre.

“Hell Motel” is a Canadian horror anthology series that is set to premiere on Shudder and AMC+ on Tuesday, June 17, 2025, with a two-episode debut, followed by new episodes weekly.

Full Credits

Director: Adam MacDonald

Writers: Aaron Martin, Ian Carpenter

Producers and Executive Producers: Aaron Martin, Ian Carpenter, Christina Jennings, Scott Garvie, Thomas P. Vitale, Adam MacDonald

Cast: Eric McCormack, Paula Brancati, Atticus Mitchell, Michelle Nolden, Shaun Benson, Genevieve DeGraves, Icesis Couture, Brynn Godenir, Emmanuel Kabongo, Jim Watson, Gray Powell, Roshahn Dhoré, Melissa Bray

Editors: Michael P. Mason, Rob Chandler

Composer: Spencer Creaghan