A Gritty Love Letter to Slasher Cinema

Read Time:8 Minute, 43 Second

MOVIE REVIEW
Lady Parts
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Genre: Horror, Slasher
Year Released: 2026
Runtime: 1h 5m
Director(s): Jared Campbell
Writer(s): Jared Campbell, Natasha Marrero
Cast: Shea Briar, Hailey Jensen-Everhart, Alyssa Gordon, Kristal Jimenez, Donnie Lester, Natasha Marrero, Haley Ragon, Raven Stone, Jilliann Symes, Linnea Quigley
Where to Watch: premiering April 4 at the 2026 Spring Lane Film Festival

RAVING REVIEW: There’s a very specific kind of vibe that comes from a film made by people who genuinely love what they’re doing. Passion projects can overcome so much in filmmaking. If you love what you’re doing, it shows. Jared Campbell and Spring Lane Studios continue to prove that passion and creativity can take you a long way, and LADY PARTS is another strong entry in a growing catalog that thrives on doing more with less. If you’ve followed their work, you already know what they bring to the table, and this film leans into that while continuing to push things forward.

At its core, LADY PARTS is a slasher built around a gallerist at the center of a brutal and relentless pursuit tied to a piece of artwork. It’s a concept that allows both traditional genre ideas and some more stylized, creative choices, and when the film finds that balance, it really clicks. There’s an appreciation here for classic horror, particularly the kind that isn’t afraid to get messy, weird, and a little unpredictable.

What really pulls you in early is how quickly the film establishes its world through overlapping personalities and tension rather than exposition. The group dynamic is messy right from the start, with conversations that feel more like people talking at each other than with each other, and that chaos works in the film’s favor. The opening stretch leans heavily on character friction, mixing humor, bitterness, and unresolved history in a way that makes their world feel unstable before the violence even kicks in. By the time the mystery surrounding the break-in and missing artwork begins to take shape, there’s already a sense that something is off, not just with the situation, but with everyone involved.

What stands out most is the film's commitment to its tone. Campbell doesn’t try to smooth things out or make this feel like a big blockbuster. Instead, the film embraces a rougher, more chaotic presentation that feels intentional, echoing the spirit of older slashers while still carving out its own space. The film has personality, and in indie horror, that means the world. In the ongoing saga of films, there’s something about these stories that just works for me!

The cast remains one of the biggest strengths of these projects. There’s a clear sense of chemistry, pride, and comfort that comes from working together across multiple films, and that familiarity translates well on screen. Everyone understands and works with the heightened nature of the material, which is exactly what this kind of story needs. When the film ramps up, the performances match that, helping to sell both the tension and the more over-the-top moments.

As more pieces fall into place, the film starts to lean into its ensemble in a way that feels intentionally confrontational. Accusations start flying, secrets come out, and the film takes its time letting these characters tear each other apart before the physical threat fully takes over. There’s an edge to the dialogue, with each character bringing their own baggage into the situation, creating a pressure-cooker environment where trust evaporates. That tension becomes just as important as the killer itself, because by the time things escalate, the group is already fractured beyond repair.

The pacing can feel uneven at times, with certain sequences hitting that perfect blend of tension and style while others lose a bit of momentum. Some of the editing choices, while clearly part of the film’s aesthetic, don’t always enhance what’s happening on screen and occasionally pull you out of the moment instead of drawing you in further. There’s also a sense that the film is juggling more ideas than it has time to explore. The connection between art and violence is an intriguing thread, but it feels like something that could have been pushed even further. As it stands, it adds flavor to the story, but doesn’t quite reach the depth it hints at. At a little over an hour, the film makes a perfect addition to the film universe they’ve created and a fun follow-up to MIGRAINE!

When the film finally shifts into full slasher mode, it doesn’t just rely on randomness; it ties the violence back into the story, giving the killer a clear, if twisted, motivation. The reveal adds another layer, reframing earlier events and turning what seemed like chaos into something more deliberate. There’s a personal element driving the brutality, connected to identity, resentment, and a warped sense of reclaiming something that wasn’t theirs to begin with. It’s not overly complicated, but it gives the film just enough to stand alongside the stylized violence.

Ultimately, though, this is me forcing myself to point out issues. The fact that this film even exists is a triumph; not only are these productions made on a budget, but they’re also laced with scheduling issues, among other bumps in the road. When you want to make something, heart yakes you part of the way, and pure willpower goes the rest of the way. What sets Spring Lane Studios apart is its commitment to the craft. These films aren’t about perfection; they’re about passion, experimentation, and a genuine love for filmmaking. You can feel that in every scene, and it’s something that elevates the experience even when things aren’t firing on all cylinders.

And stepping back from just this film, what Spring Lane Studios has built as a whole deserves its own spotlight. There’s a genuine sense of continuity and growth across their projects that makes each new entry feel like part of something bigger rather than a one-off experiment. You can see the evolution not just in storytelling, but in the confidence of the cast and crew, many of whom have become staples of this expanding universe. Familiar faces continue to pop up and develop across these films, bringing with them a level of comfort and chemistry that you just can’t fake. That familiarity creates a kind of scrappy cinematic family, one that rewards longtime viewers while still welcoming newcomers. It’s also impossible not to smile at the inclusion of genre icon Linnea Quigley, whose presence, even in a smaller role, adds a fun layer of history to the mix and shows just how much love for the genre is baked into these projects. When you combine that with their DIY spirit, their commitment to telling stories, and the fact that they’ve built this entire ecosystem, from films to their own festival, you start to see something that goes beyond just indie filmmaking. Spring Lane is carving out its own lane, and LADY PARTS feels like another piece of that larger, passionate, ever-evolving puzzle.

By the time the film reaches its final stretch, it embraces its identity, blending horror, humor, and an exaggerated theatricality that matches everything that came before. The chaos doesn’t necessarily answer all your questions, and that feels intentional. Instead of tying everything up, the film leans into the aftermath, leaving behind scars, both physical and emotional, as a reminder of what these characters went through. That closing note reinforces the idea that this wasn’t just about survival, but about what’s left behind when everything falls apart.

What unfolds is less about a straightforward hunt and more about a group of people trapped in a space where nothing feels stable, physically or emotionally. What begins as a break-in quickly spirals into suspicion, with everyone questioning not only what’s happening but also who they can trust. The missing artwork becomes a focal point, but it’s really just the spark that ignites everything already simmering beneath the surface. As tensions rise and alliances shift, the film leans into a mix of confrontation and paranoia, creating an experience that feels unpredictable. It’s a slasher at its core, but one that’s just as interested in the chaos between its characters as it is in the threat surrounding them.

LADY PARTS may not be their most refined project, but it’s another step forward for a story that continues to grow and evolve with each release. It’s a film that knows exactly what it is, embraces its strengths, and isn’t afraid to take swings along the way. If you’re already on board with what this studio is doing, there’s plenty here to enjoy. If nothing else, it reinforces that this is a group of people worth keeping an eye on as they continue to build their unique voice in the indie space.

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[photo courtesy of SPRING LANE STUDIOS]

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