Obvious identity politics makes this boring and predictable

Rating: 1/10 (4 January 2019)

SPOILERS! Things I learned watching this film: white men are toxic and therefore must be portrayed as huge jerks (Douglas) or completely evil (Gary). The only white man who is portrayed as good is blind. Men of color, however, are inherently good...Greg, who is gay and of Asian descent, sacrifices himself on the chance that they could use cameras to see what's going on outside. Charlie and Tom (both African-American) are allowed to express their masculinity and sacrifice themselves to save others. Malorie, the main character, is introduced as tough and pregnant with no man in the picture (because, you see, men are unnecessary). The other pregnant character loves her late husband and misses him, so of course she dies while Malorie makes it to the safe place with both children. The subliminal connection that you're supposed to make is that loving and depending on a man is weakness.
There is no inherent problem in choosing minority or LGBT actors for virtuous roles and white men for vicious or immoral roles. It's just that it's SO PREDICTABLE as to what's going to happen in the film. The second they let Gary in the house I KNEW he was evil. Why, you may ask? Because he's white, and he didn't mention anything about being gay.
To Sandra, Susanne, et al: making every aspect of your film bow to social justice undertones made your film extremely boring and predictable. For a film that relies on suspense to keep viewers interested, this is a major handicap. Why can't there be any surprises? Why must we see the twists a mile away? Your identity politics comes before your art, and the art suffers for it.