Slasher Sequel Brings Charm and Chaos

Read Time:4 Minute, 51 Second

MOVIE REVIEW
Pretty Boy
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Genre: Horror
Year Released: 2025
Runtime: 1h 39m
Director(s): Marcel Walz
Writer(s): Joe Knetter
Cast: Sarah French, Heather Grace Hancock, Devanny Pinn
Where to Watch: coming to On Demand and Digital on May 27, 2025, from Lionsgate

RAVING REVIEW: PRETTY BOY brings a chaotic blend of nostalgia and brutality, continuing its story where the previous entry, BLIND, left off. It’s a sequel that doesn’t waste time on introductions or buildup (you get pretty much everything you need in the opening credits, although BLIND is a fun watch as well!)—opting for a sharp detour into genre territory, complete with lavish parties, and more exaggerated characters. The energy is there, and the style shows confidence, but the film wavers a bit between its blood-soaked intentions and psychological aspirations.

The story picks up with Faye (Sarah French) entangled in a dangerous situation—this time, the danger finds its way into a Valentine’s Day party. It’s a classic slasher backdrop: isolated guests, high emotions, and many potential victims. Faye, once the emotional core of the previous installment, is side-tracked for a good portion of the runtime. I would have liked to have seen French with a more involved role in the film, but she manages to make up for lost time later in the movie.

The spotlight instead falls on the killer, Pretty Boy (Jed Rowen), who remains mute and enigmatic but continues to carry scenes with body language and a haunting presence. Rowen’s performance works within the constraints of the role, making the character unsettling without resorting to theatrics. Along with Rowen, we get several other cast members who take the front seat, Devanny Pinn as Chelsie takes a lot of the focus with an over-the-top performance that you can’t help but love.

When the film transitions into family drama, it does so rather abruptly. The pivot from a stylized slasher to a dark domestic horror piece is jarring. The killer’s past is explored through dialogue and flashbacks that layer on psychological depth.

Visually, it has a strong identity. The lighting is saturated with reds and purples, giving it a retro, dreamlike atmosphere that fits its holiday backdrop. The practical blood and gore are wonderful and exciting and fit perfectly, even though you know they're exaggerated. There’s clear thought put into the aesthetic, even if consistency wavers from scene to scene.

The kill scenes are executed with a flair that makes them memorable. There’s also a streak of bizarre humor beneath the surface—moments suggesting the filmmakers aren’t taking things too seriously, even when the script pretends otherwise. These tonal inconsistencies add a layer of unpredictability.

Heather Grace Hancock's Rayna brings energy to the ensemble. While her role isn’t expansive, she gives the film an added jolt of charisma. Unfortunately, some of the other characters never move past their archetypes. They’re slotted into place, paired off quickly, and removed just as fast.

The film loves to experiment, blending throwback slasher vibes with attempts at deeper character exploration. It is an ambitious swing—not everything clicks into place, but there’s something to be said for a movie that isn’t afraid to mix tones and styles. Rather than playing it safe, it reaches for complexity, which may divide viewers but also gives it a unique identity among its peers.

There’s also a sense that this story could evolve into something larger. With a distinct visual language, an intriguing antagonist, and a setup that leaves plenty of room for expansion, this could easily serve as the midpoint of a trilogy or franchise. The groundwork is there, future installments could push these ideas even further. Fans of the genre will likely find enough to appreciate here, and those open to a more offbeat slasher approach may enjoy what it’s building toward.

PRETTY BOY is a fun, off-kilter entry in indie horror, filled with wild energy, clever nods to genre conventions, and just enough originality to warrant attention. It brings enough visual style, commitment, and character to suggest more to come, and that’s worth watching. If this is the direction the series is heading, it’s off to a messy but promising start. If this is your film style, I recommend checking out Marcel Walz, Joe Knetter, Sarah French, and Devanny Pinn’s filmographies. This will lead you down a wonderful rabbit hole that is the absolute defining staple in modern indie horror!

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[photo courtesy of LIONSGATE]

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