Love Becomes a Weapon, and Nobody’s Safe

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MOVIE REVIEW
Pretty Thing
–

Genre: Thriller
Year Released: 2025
Runtime: 1h 36m
Director(s): Justin Kelly
Writer(s): Jack Donnelly
Cast: Alicia Silverstone, Karl Glusman, Catherine Curtin, Britne Oldford, Tammy Blanchard
Where to Watch: in select theaters and VOD July 4, 2025

RAVING REVIEW: Alicia Silverstone has never been one to back down from a defining role, and in PRETTY THING, she reclaims center stage with all the force and sharpness of a woman who knows exactly what she’s doing. What starts as an intoxicating affair between a powerful executive and her younger lover spirals into something far darker—a game neither can control. Director Justin Kelly channels the erotic thrillers of the '80s and '90s but updates the formula with a more self-aware, power-conscious lens.

PRETTY THING is sleek and seductive on the surface, but there’s a sting beneath the polish. The dynamic between Silverstone’s Sophie and Karl Glusman’s Elliot thrives on power, age, and imbalance. Sophie isn’t naive, and Elliot isn’t just a puppy chasing affection. Their attraction simmers with complication, and the film wastes no time in making it clear that this isn’t just another tale of forbidden love gone awry. The tension is psychological as much as sexual, and the viewer never gets to settle down in either genre (which works to the film's benefit!)

There’s something fascinatingly full-circle about watching Alicia Silverstone in PRETTY THING when you remember her in 1995’s THE BABYSITTER. In both films, she’s the center of male obsession—but the difference is in how she now holds the reins. Back then, she played a teenage object of desire; nearly three decades later, she’s still at the eye of the storm, but this time, she’s creating the weather. Silverstone’s Sophie doesn’t just react to desire—she weaponizes it, and dares her counter to underestimate her. It’s not that she’s playing the same character; the gaze has shifted. What once was fantasy is now a threat, and Silverstone turns that evolution into a timely and hard-earned performance. You can trace the arc from then to now, not as repetition, but as reclamation—and it’s one of the reasons this film feels so satisfying.

Glusman, too, holds his own, though his character’s descent into obsession. His best moments come not when he’s at his most dangerous but at his most desperate—when the mask slips, and we see the fragile, volatile mess underneath. The chemistry between Silverstone and Glusman is undeniable, and their push-pull gives the movie momentum.

The script by Jack Donnelly understands that tension doesn’t always come from the loudest moments. Some of the film’s most unnerving scenes are its most restrained—glances that hold on for too long, silences that say more than any dialogue could. Donnelly also leans into gender dynamics, raising questions about power, age, and control in relationships without spelling them out too clearly. The subtle social commentary enriches the narrative, giving the film some teeth beyond its erotic thriller setup.

The production design and cinematography keep things intimate and often claustrophobic, reinforcing the film’s themes of control and confinement. Matthew Klammer’s cinematography creates a visual style that pulls us deeper into Sophie and Elliot’s dance. At the same time, Tim Kvasnosky’s score adds just the right amount of unease without overwhelming the film’s tone.

Kelly’s direction remains a highlight along with the core performances, maintaining a taut sense of control even when the story flirts with melodrama. PRETTY THING walks a fine line between pulpy suspense and psychological drama, and for the most part, it does so with confidence and clarity.

For longtime fans of Silverstone, this is a welcome reminder of her range and presence. For newcomers, it's a lesson in how charisma and control can elevate material beyond genre limitations. And for anyone craving a modern thriller with bite, this is one of the most satisfying recent entries.

PRETTY THING doesn’t reinvent the genre but revitalizes it just enough to feel fresh. It’s smart, seductive, and sharp where it counts, anchored by performances that deserve every inch of the spotlight. While the film occasionally leans into well-worn territory, its commitment to character-driven suspense and its awareness of power dynamics give it an edge that lingers well after the final shot. It brings depth to a genre that often survives on style alone. It’s a reminder that thrillers don’t need to be subtle to be smart—they just need to know whose story they’re telling.

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[photo courtesy of SHOUT! STUDIOS]

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