Review: Heart Eyes

Score: B+

Director: Josh Ruben

Cast: Olivia Holt, Mason Gooding, Jordana Brewster, Devon Sawa

Running Time: 97 Minutes

Rated: R

Don't let the trailers fool you. While Heart Eyes is quite effective as a slasher, it's really a parody of the genre's gnarly kills, ridiculous twists, and general disregard for logic. It's also a sharp send-up of romantic comedies, too. It's extremely self-aware, often very funny, and sometimes pretty scary, too.

Olivia Holt (a veteran of teen thrillers) stars as Ally, a marketing director who's sworn off love after a bad breakup. But of course dashing consultant Jay (Mason Gooding) has just arrived in town. He's there to save her disastrous ad campaign, and maybe get her to believe in romance again. The movie knows just how ridiculous this set-up is, and it isn't long before the goopy romance turns into a gory horror movie. The Heart Eyes Killer, who targets affectionate couples, sets its sights on the pair, chasing them across such obvious locations as a dark alley, a creaky carousel, and an abandoned greenhouse.

This level of cleverness and absurdity has come to be a calling card of co-writer Christopher Landon. He's worked on the Paranormal Activity franchise, but also written such witty parodies as Freaky and Happy Death Day. If you enjoyed those, this is in the same vein, though noticeably more violent. You'll see some slayings you've probably never seen before, including with a wine press and tire iron. There are also some nice touches, including references to His Girl Friday and the Fast & Furious franchise. The serial killer also doesn't discriminate in dispatching victims. Couples of all gender identities and sexual orientations are sliced and diced.

If Heart Eyes has a flaw, it's a climax that overstays its welcome, with an epilogue that's a little too cutesy after such a ruthless movie. But overall it's a terrific horror-comedy, and the perfect counter-programming for lovey-dovey Valentine's Day garbage.

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About Kip Mooney

Like many film critics born during and after the 1980s, my hero is Roger Ebert. The man was already the best critic in the nation when he won the Pulitzer in 1975, but his indomitable spirit during and after his recent battle with cancer keeps me coming back to read not only his reviews but his insightful commentary on the everyday. But enough about a guy you know a lot about. I knew I was going to be a film critic—some would say a snob—in middle school, when I had to voraciously defend my position that The Royal Tenenbaums was only a million times better than Adam Sandler’s remake of Mr. Deeds. From then on, I would seek out Wes Anderson’s films and avoid Sandler’s like the plague. Still, I like to think of myself as a populist, and I’ll be just as likely to see the next superhero movie as the next Sundance sensation. The thing I most deplore in a movie is laziness. I’d much rather see movies with big ambitions try and fail than movies with no ambitions succeed at simply existing. I’m also a big advocate of fun-bad movies like The Room and most of Nicolas Cage’s work. In the past, I’ve written for The Dallas Morning News and the North Texas Daily, which I edited for a semester. I also contributed to Dallas-based Pegasus News, which in the circle of life, is now part of The Dallas Morning News, where I got my big break in 2007. Eventually, I’d love to write and talk about film full-time, but until that’s a viable career option, I work as an auditor for Wells Fargo. I hope to one day meet my hero, go to the Toronto International Film Festival, and compete on Jeopardy. Until then, I’m excited to share my love of film with you.