It’s an unfortunate sort of feeling when you’re made aware of how long the development process was for certain features, and the evidence appears to be on screen in the form of scripts that feel somewhat dated. Whether or not writer Andrew Kevin Walker (Seven) did any serious reworking of his script for Psycho Killer in the years since first shopping a draft around to studios, the end result manages to feel like the sort of thing non-deliberately rooted in interests and ideas from another time. Combined with direction that feels unsure of how to squash what feels like three different movies together, the results allow for a stylish and brutal horror film, but one that doesn’t quite come together as effectively or cleverly as one would like.
In a movie that’s initially not too far off from In a Violent Nature, Psycho Killer opens with a sequence largely told from the perspective of a killer. This is the Satanic Slasher (James Preston Rogers), who drives fast cars, wears dark sunglasses at night, has long, shaggy black hair, lots of tattoos, and a deep voice that reminded me of Dr. Claw from Inspector Gadget. His viciousness is made clear right away, as we watch him shoot a state trooper during a routine traffic stop right in front of the trooper’s wife. The wife is another state trooper, Jane Archer (Georgina Campbell), who spends her time in the film researching the Slasher’s movements and actions, hoping to catch up with him to deliver vengeance, stopping his reign of terror in the process.
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The Slasher is a curious individual. Without delving too far into what we learn about him, it’s clear there’s a human in there. Credit to Rogers’ performance, while this guy is clearly a psychopathic serial killer, his movements, thought process, and even the nature of how he selects his victims speak to someone who is in control and constantly thinking through their actions. That doesn’t mean they always make sense, but it adds some dimension that keeps the audience curious. A later segment in the film even suggests that a dial could be turned a slightly different direction, and we’d find he’s committing certain acts for reasons not quite as despicable as the other 40+ deaths he’s dealt.
Meanwhile, Campbell is good here, while also adding another film to her resume of horror flicks with cool titles (Barbarian, Lovely Dark and Deep, All My Friends Hate Me). While a foot shorter than the Slasher, she spends the movie acting as the cat to his mouse, chasing down leads and having multiple confrontations that usually find our villain on the defensive. It’s a creative choice that makes one wish there were other ways this film could subvert certain expectations.
That becomes the film’s central issue. While it’s enjoyable enough and finds some excessive ways to show the brutality the Slasher can inflict (scenes involving a church and, later, an axe come to mind), after a while, the film takes turns that push it into territory so extreme that the stakes feel overinflated. This led me to stop caring about how it would all turn out.
At the same time, rooting the motivations in devil worship and its connection to heavy metal music ends up feeling like such a tired cliché. Were the film to have more to say about the Slasher’s beliefs versus those of others he encounters and really stick with that intention, there’d perhaps be more to talk about. Instead, while amusing, the film’s decision to spend time leaning into dark comedy does more harm than good, even with Malcolm McDowell as a Satanist looking to get lucky.
Were the film more reliant on a pulpier attitude, I could have gone more in on the abrupt shifts that reflect whose story is being told and what the goal is. As it stands, Psycho Killer pushes in a few too many directions and ends up coming way short by the end. Again, attempting to balance brutality and a dark sense of humor can work, but it does nothing for the tension that should also play a major role.
Early in the film, plenty is done to create suspense, as the decision to include the killer’s perspective means knowing something is coming when considering various scenarios. That speaks well to a film that can take an angle on horror and work with it. However, things shift in a manner that does the movie no favors. Looking at the climax, it simply doesn’t feel all that satisfying, given the buildup we’ve had, and the final minutes feel especially lacking when it comes to providing a decent way to cut to the credits.
It’s frustrating because director Gavin Polone does some fine work that’s scattered throughout the film. There’s a good amount of tension in a number of the kill sequences, with some going further than others when it comes to how it wants to emphasize the violence and gore on display. However, whether it’s the script or directorial choices that bring aspects of the story to life, there’s an escalation in how things play out that doesn’t connect nearly as effectively as when the film relies on a killer, his stray victims, and the cop chasing him. One doesn’t quite have to run away from Psycho Killer, but seek him out at your own discretion.
Psycho Killer opens in theaters on February 20, 2026.
