Football, Family, God: HIM (2025) Review
Justin Tipping's HIM (2025), starring Marlon Wayons and Tyriq Withers, debuted to mixed reviews and many attributing the film to the direction of Jordan Peele. Tipping (Kicks, Dear White People), is no stranger to being behind the camera, as is evident in this sophomore feature. He has his own voice, and that comes through clearly in HIM.
At its core, HIM follows Cameron Cade (Withers) on his path to the NFL, training under Isaiah White, better known as the GOAT (Wayans). While the setup feels familiar, Tipping uses it to dig into the religion of football, the realities of CTE, and the way Black athletes are commodified by the game. From the very beginning, the film distinguishes itself from other Monkeypaw projects by not by leaning on scares, but by examining the systems that exploit Black talent and profit from their pain. Football here becomes a stand-in for capitalism and entertainment culture, where players are worshipped as heroes until their bodies give out. Tipping doesn’t shy away from asking hard questions about who really benefits from the game and ultimately, who then pays the price.
What stands out on screen is the relationship between Cade and White, which begins as a traditional mentor-student dynamic but quickly unravels into something far more complex. Withers brings a raw, eager energy to Cade, embodying the hunger of a young athlete desperate to prove himself. Opposite him, Wayans delivers a layered performance as the GOAT which is equal parts charismatic coach, and philosopher, but also a cautionary tale. White’s words, like “you have to be great to be good” or the chilling analogy of choosing food or freedom in a prison, cut through the sheen of inspiration and reveal the darker truths behind the game. As the story unfolds, their dynamic shifts: what first feels like guidance starts to blur into manipulation, exposing not just the personal cost of chasing greatness, but also how the sport itself functions as a system of exploitation. Football here isn’t just a game, it’s a religion, a business, and a machine that consumes Black bodies for entertainment.
The imagery in HIM functions as a visual language for the film’s themes of power, worship, and exploitation. The Saviors' leaders standing before Cam in pig masks aren’t subtle, but that’s the point: they embody greed and consumption, literally feeding on the bodies of athletes. The fans gathered outside White’s gates echo the blind devotion of religious followers, elevating him to a godlike figure no matter the cost. Even White’s wife becomes a symbol, the embodiment of whiteness feeding off Black labor while orchestrating the cult that sustains it. The X-ray shots of players slamming heads bring the reality of CTE into stark relief, a reminder that behind the spectacle lies irreversible damage. When Cameron is placed in a Last Supper tableau, the message is clear: the NFL isn’t just a game, it’s a religion demanding sacrifice, and its rituals consume without care.
Overall, HIM is a fascinating, unsettling ride. Tipping creates a world where football operates as both religion and machine, and where the cost of greatness is laid bare. Withers and Wayans anchor the story with a tense, shifting dynamic that keeps you invested in every moment with the film’s striking visuals on display. It’s not flawless. The narrative can feel heavy-handed at times, but it’s bold and unlike anything else Monkeypaw has released. HIM is a film that rewards attention, reflection, and a willingness to confront the darker side of football in this country.
Rating: ⭐⭐⭐/5