Night of the Reaper (2025) - Film Review

      **Night of the Reaper, 2025.**

      Directed by Brandon Christensen.

      Starring Jessica Clement, Ryan Robbins, Summer H. Howell, Marty Finochio, Ben Cockell.

      **SYNOPSIS:**

      A college student comes home and agrees to babysit at the last minute for her hungover friend. That same evening, the local sheriff receives a mysterious package that triggers a deadly game of cat and mouse with a killer.

      *Night of the Reaper*, a moody noir-inspired film by Brandon Christensen, presents a satisfying retro horror story that blends the thrill of unraveling clues with genuine scares. The film skillfully merges two genres—the gritty crime procedural and the slasher—successfully defying expectations with its clever script and strong performances.

      The trope of babysitters in danger is a classic slasher theme, seen in films ranging from *Halloween* (1978) and *When a Stranger Calls* (1979) to the *Scream* franchise (1996-) and *The Babysitter* (2017).

      *Night of the Reaper* immediately plunges into the terror faced by an unfortunate teen stalked in the home where she is babysitting, while also providing a detailed reimagining of the 1980s. This reminded me of Ti West's *House of the Devil* (2009), which features a babysitter uncovering dark secrets in a similar era.

      The tense opening scene in Christensen's film showcases Emily (Summer H. Howell) babysitting two mischievous kids who enjoy playing pranks. After a carefully crafted build-up, a skull mask-wearing villain emerges from the darkness, leaving us to wonder about the horrors that will follow.

      The primary narrative then unfolds later with two subplots. The first involves Sheriff Rod (Ryan Robbins), who discovers a series of VHS tapes documenting mysterious deaths, including Emily’s murder.

      The second subplot intertwines with that of Deena (Jessica Clement), who fills in as her hungover friend's babysitter while home from university chemistry classes. It quickly becomes apparent that she has become the skull-faced killer's latest target. Coincidentally, she is also caring for the sheriff’s son, Max (the director’s son, Max Christensen).

      Clement brings a bold and charismatic presence to the film, driving much of the story forward. As a clever and stylish addition to the slasher genre, the movie skillfully presents red herrings and puzzles as the truth gradually comes to light. Emily’s boyfriend (Ben Cockell) is initially called in for questioning due to his suspicious behavior of lurking and filming people with his new camcorder.

      The inclusion of camcorders, VHS tapes, and landline phones effectively captures the 80s experience without excessive exploitation. It seems many filmmakers, including Christensen, enjoy crafting narratives set before the era of tracking devices, smartphones, and the overwhelming influence of the internet.

      What sets this film apart is Christensen's determination not to merely replicate or pay homage to classic slashers. The combination of the detective storyline and the director's adept pacing allows the film to explore new and creative avenues. While he could have emphasized the retro setting more overtly, opting for a simple yet impactful synth score by composers David Arcus, Terry Benn, and Michell Osis keeps the film grounded. This score adds a layer of intrigue about past mysteries and the disorientation of intersecting timelines, subtly showcasing the film’s sophisticated aim to captivate and enchant.

      I truly enjoyed this film. Christensen undoubtedly has a passion for genre cinema, maintaining an engaging pace filled with adeptly crafted shots and effective use of light and shadow. The escalating mystery unfolds with flair and originality.

      **Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★**

      Robert W Monk