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City of Demons
Movie

City of Demons

2025 • Unknown

Woke Score
3
out of 10

Plot

Hollywood realtors Danni and Reese close the biggest deal of their lives and throw a party. But the previous owners still occupy a tunnel system beneath the house and are having a party of their own. The bad news? The hosts are vampires.

Overall Series Review

The film focuses on Hollywood realtors Danni and Reese, who throw a celebration party in a mansion they just sold, only to encounter the house's vampiric previous owners in the tunnels beneath. The narrative is a low-budget, highly choppy compilation of new footage and spliced-in scenes from various older horror films. The plot serves mainly as a vehicle for sensationalistic horror elements and extensive softcore sexual content. The action is disconnected and nonsensical, prioritizing voyeuristic spectacle and exploitation tropes over character development or thematic substance. The production is a 'lumbering monster' with little cohesive narrative, making it a purely shallow piece of shock cinema rather than a platform for any complex social or political commentary.

Categorical Breakdown

Identity Politics2/10

The plot centers on two Hollywood realtors and their encounter with subterranean vampires in a mansion. The narrative is driven by simple exploitation and horror tropes, not by a commentary on race, intersectional hierarchy, or 'systemic oppression.' Casting appears to be based on the requirements of an exploitation film with no evident political agenda regarding diversity or the vilification of any specific immutable group.

Oikophobia3/10

The setting is a Hollywood mansion, which becomes a site of chaos due to its secret vampire inhabitants. There is no evidence of the film's core message being a critique of Western civilization, institutions, or national heritage. The conflict is a localized horror scenario driven by sensationalism and gore, not by an ideological self-hatred toward one's home culture or ancestors.

Feminism3/10

The female leads are 'hotshot realtors,' suggesting a superficial 'Girl Boss' title, but the movie's content is primarily a delivery system for hyper-sexualized scenarios, nudity, and women in peril. The characters are largely interchangeable and exist as objects of spectacle, which runs directly counter to the ideological premise of modern 'Girl Boss' feminism that emphasizes non-sexualized, non-exploited perfection. The film does not contain any discernible anti-natal or career-as-only-fulfillment messaging.

LGBTQ+4/10

The movie contains explicit same-sex sexual content in the form of 'girl on girl sex,' which is a feature of its softcore exploitation nature. This inclusion is for titillation and spectacle, not to center sexual identity as a socio-political or ideological trait. There is no lecturing on queer theory, deconstruction of the nuclear family as an oppressive structure, or a focus on gender ideology for political purposes.

Anti-Theism2/10

The conflict involves generic horror demons, ghosts, and vampires, but there is no apparent commentary or hostility directed at traditional religion, specifically Christianity. Morality within the story is subjective only in the sense that the entire plot lacks a serious moral center due to its exploitation style, but this is not presented as an ideological argument for moral relativism over Objective Truth.