Unpredictable, Messy, and Entertaining in All the Right Ways

Read Time:4 Minute, 35 Second

MOVIE REVIEW
Bad Haircut
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Genre: Thriller, Comedy
Year Released: 2025
Runtime: 1h 40m
Director(s): Kyle Misak
Writer(s): Kyle Misak
Cast: Spencer Harrison Levin, Frankie Ray, Nora Freetly, Beau Minniear, Rob Raco, Meredith Mickelson, Adriana Callori, Michael Bonini, Ellie Dobleske, Jake Busey, Larry Hankin, Mindy Sterling, Martin Klebba
Where to Watch: shown at the 2025 Fantastic Fest

RAVING REVIEW: The setup for BAD HAIRCUT is deceptively simple—a college kid, Billy, just needs a haircut, but instead finds himself trapped with a barber whose peculiarities are a shade of full-blown menace. What might sound like a punchline stretches into a full-length feature that balances bizarre humor, energy, and a surprisingly earnest core of coming-of-age. The film is tailor-made for a late-night crowd that thrives on outrageous genre hybrids.

The film’s strength lies in its willingness to lean into absurdity without losing sight of its characters. Spencer Harrison Levin as Billy embodies the awkward, self-doubting college kid perfectly, grounding the madness with a performance that feels both authentic and exaggerated enough to play within the heightened world. His arc—learning to face fear and find confidence, however chaotically—is earnest, even when drenched in comic bloodshed. Opposite him, Frankie Ray’s Mick is fascinating. As the psychopathic barber, he blends charisma with mania, creating a character that is both terrifying and hilarious. Every scene with him feels like it could veer into violence or slapstick at any moment, and often both.

With cult favorite names like Jake Busey, Larry Hankin, and Mindy Sterling lending oddball credibility. Martin Klebba, known for PIRATES OF THE CARIBBEAN, and Rob Raco, recognizable from STRANGER THINGS and RIVERDALE, bring genre-friendly energy that reinforces the film’s balance between camp and chaos. Even model-turned-actress Meredith Mickelson fits naturally into this eccentric ensemble. BAD HAIRCUT may wear its indie status proudly, but the cast list rivals a larger production in recognizable faces.

Director Kyle Misak, who has collected festival accolades with shorts and earlier projects, infuses the film with confidence. The editing by Ben Mills keeps the rhythm tight, allowing moments of suspense to escalate before undercutting them with surreal comedy. The original score, recorded with a 65-piece orchestra under Emmy winner Geoff Zanelli (PIRATES OF THE CARIBBEAN, THE PACIFIC), further elevates the production values beyond typical indie expectations.

The film isn’t flawless. The balance between horror and comedy can sometimes feel uneven. For audiences expecting nonstop gore or consistent scares, the film’s commitment to character and comedic banter may feel like detours. Conversely, those seeking quirky comedy might find the darker turns a bit jarring. There are moments where the shifts almost stretch credibility, leaving sequences feeling stitched together rather than organic. At times, the film risks being a collection of eccentric episodes rather than a tightly constructed narrative.

That said, the chaotic energy is part of the appeal. BAD HAIRCUT doesn’t aim for sleek perfection—it thrives on being messy, unpredictable, and a little rough around the edges. It embraces its premise and pushes it to extremes, a quality that works particularly well in a late-night setting. Misak’s direction reveals a love for genre mashups, and while not every risk pays off, enough do that the film sustains interest across its runtime.

Thematically, it’s a story about confidence, identity, and transformation—delivered through blood, bizarre humor, and a deranged barber’s chair. Billy’s worst day becomes a crucible for growth, forcing him to confront fears both social and existential. That message might feel familiar, but the way it’s packaged—through a psychopathic grooming session—is distinct enough to leave an impression.

In the end, BAD HAIRCUT sits comfortably in the genre chaos category: not flawless, not universally appealing, but bold, weird, and unapologetically itself. It captures the essence of Fantastic Fest programming—films that take chances, even when they stagger. Misak proves he has an eye for casting, tone, and spectacle, even if the narrative sometimes falters. For those who enjoy midnight movies with a twisted sense of humor, this haircut is worth sitting through, even with the clippers buzzing. A strong, memorable indie with plenty of personality, even if uneven in places.

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