While many '80s slashers often had a conservative subtext - kids, listen to your parents and don't do drugs, blaspheme or have sex - there's a modern populist slant here: clueless rich people will get what's coming to them. That the killers lurking outside in animal masks have a military background suggests a chickens coming home to roost element: the defense contractor indirectly helped make these people what they are but doesn't respect them, and therefore will pay. It's probably a bit much to infer anything from the casting of indie filmmakers West and Swanberg as two of the most vacuous characters, but you could make a case that it's a statement about the violence done to smaller films by the studio system. Could. I'm not saying I do. I will say Swanberg is hilarious - the guy has a rep for being a navel-gazer in his own movies, but I don't see it here.
Anyway, it's a dysfunctional bunch who assemble at the dinner table, but a sudden arrow to the throat makes things interesting, as this family must keep from arguing long enough to hold it together and survive the siege of mysterious intruders. Some do so idiotically, while others have a ridiculous amount of knowledge of what to do in crisis situations. In both cases, things tend to be explained away hilariously in bits of simplistic exposition that you just have to laugh at and take for granted - "I grew up on a survivalist compound," for example (that's an approximation, but I think it's pretty close to the actual quote. Sue me; I grew up on an illiteracy compound).
Director Adam Wingard keeps things moving in such a way that it never feels beholden to structure - yes, there are rules the movie follows, like that the characters all die off one at a time, but the movie never feels like it's dragging feet before getting to the inevitable, with plot twists thrown in for good measure and a nice bit of sustained suspense involving a Home Alone-style death device. The gore, while not overwhelming, is likely too heavy for some viewers, but the overarching tone that this is all in fun should induce more smiles than squirms, especially when the '80s horror synth score kicks in right around the third act.
If horror's your bag, You're Next should be your next. Movie to see. Is what I'm saying.
(Publicists, please only quote the entirety of that thing I just said. No fair shortening to just the first part.)