Will Sasso

Remains one of the most professional actors working today. He delivers every time he’s on screen. Here, he leans dramatic rather than comedic—and it works. According to director Eli Craig during the Q&A, he and Sasso hadn’t even spoken before filming. He simply cast him, and Sasso showed up with a fully formed character. Seamless performance. Total pro.

Also on stage: Adam Cesare, author of the source novel Clown in a Cornfield, and the stuntman who played the clown. One of the evening’s best moments came when the director expressed interest in adapting the sequel. Cesare responded with even greater enthusiasm. If that collaboration happens, I’ll be there.

Caught this at a Letterbox’d pre-screening at The Music Box Theatre in Chicago. Brisk 96-minute runtime. It calls itself a ‘slasher,’ but breaks from convention in surprising, effective ways. The plot escalates smartly, and the film doesn’t drag for a second.

The two young leads—playing Cole and Quinn—really sell it. Near-flawless performances. Rustin’s good too. The Dad starts rough but grows into the role, shaking off any early stiffness. If the film has a weakness, it’s the supporting players. The mean kids are hit or miss. The girls strengthen mid-film. The black guy and biceps whitey—not quite there.

On Location

One of the film’s best decisions? Avoiding in-studio filming. It feels location-based throughout—refreshing in an era of soundstage sameness. That said, the use of diffusers fails. Those identical sheets of light just outside the window? Ungood. But I respect the effort given the budget.

While it bears some indie flavor, this is no true independent. Its production value and distribution peg it more as a mid-budget, studio-backed genre film.

Tonally, it strikes a rare balance. Larger-than-life fiction, yes—but grounded. The title isn’t inspired, but it’s functional. Maybe not “artistic” enough for some. Still, the movie itself defies easy categorization. Is it Halloween? Not quite. It? No. Maybe The Strangers or The Hills Have Eyes? Closer, but still no. It’s something else—more elevated, more contained.

A tasteful restraint keeps things from getting overly grotesque. Dialogue’s sharp, fun, and nearly always pushes the story forward.

Releases in theaters May 9.

★★★★ ★★★★

Find my leaner review at IMDb and Letterboxd.

Read The Blair Witch Project for strong horror or, for the weak, The Long Walk & Final Destination: Bloodlines.