Considering the existence of recent films like Midsommar (2019) and The Menu (2022), this movie feels formulaic and unoriginal, falling short of its predecessors in several ways. Visually, it lacks the striking appeal of Midsommar, its exploration of the cult of personality is less profound than The Menu, and the tension it builds is weaker than in both.

Even the musical aspects fail to engage or leave a lasting impression. This is an unfortunate shortcoming, given that this should be the film’s strongest element, considering the central figure is a renowned pop star (played by a rather uninspired John Malkovich).

This Polish film thrives more on its experimental, artsy approach than on its horror elements, which ultimately fail to be genuinely frightening. While the killer’s costume is intriguing and some of the kills are enjoyably gory, the film never truly shocks or excites.

Its overly simplistic spiritual and philosophical themes, along with a weak overall plot and bland characters, make it difficult to feel emotionally invested in what is happening or in who it is happening to.

This psychological thriller, centred on the struggles of a comic book artist (or more accurately, an aspiring one) excels in its striking comic artwork, which enhances the film’s visual appeal. This is reinforced by a well-presented exploration of the desire for artistic recognition, complemented by well-crafted relationships and conflicts among the characters, all revolving around the protagonist.

However, a jarring structural shift in the second act does more harm than good, throwing off the pacing and weakening the investigation into key events. As a result, the film’s resolution feels somewhat underwhelming.

Weirdly enough, this Mexican horror film works quite well, not because of its paranormal elements, which do feature some impressive effects, particularly toward the end, or its disappointingly unthreatening rabid dog.

Instead, the film’s true horror lies in its insufferable pair of kids, their incompetent mother, and the downright hateful array of secondary characters.

A fun disclaimer appears at the end of the credits, where Emilio Portes amusingly notes that people in real life are even more awful than those portrayed in the movie.