Tribeca Film Festival 2025
Reviews are separated based on festival category. Please check back as reviews will be posted throughout the festival along with exclusive interviews with the creative forces behind the films both feature and short!!!
*All films with images have been screened and reviews are currently embargoed.
Once embargo is lifted, images with ⭐️ ratings have reviews attached.
Spotlight Narrative Competition
The Best You Can
Oh, Hi!
Paradise Records
Relay
⭐️⭐️⭐️⭐️
She Dances
⭐️⭐️⭐️⭐️⭐️
Twinless
Selected Festival Shorts
Awaiting the Lightning Bolt
⭐️⭐️⭐️⭐️⭐️
Baby Tooth
God’s Lonely Magician
⭐️⭐️⭐️⭐️
The Hicks Happy Hour
⭐️⭐️⭐️⭐️
How I Learned to Die
⭐️⭐️⭐️⭐️
Terror Night
⭐️⭐️⭐️⭐️
Billy Joel: And So It Goes
⭐️⭐️⭐️⭐️⭐️
Film Production Companies: HBO
Rating: NR / Run Time: 147 minutes
Language: English
Director(s): Susan Lacy and Jessica Levin
Starring: Billy Joel, Elizabeth Weber, Jon Small, Sean Weber-Small, Russell Javors,
Liberty DeVitto, Richie Cannata, Bruce Springsteen, John Cougar Mellencamp
and Paul McCartney
“Everything I’ve done, everything I’ve lived through has made it into my music.”
How can one begin to talk about the legend that is the Piano Man himself, Billy Joel? That is what directors Susan Lacy and Jessica Levin set out to answer in Billy Joel: And So It Goes, an epic two-part, five hour documentary chronicling one of the greatest and influential living artists today. The first part, which premiered at the Tribeca Film Festival, gave us roughly two and a half hours that trace Joel’s life from his early days on Long Island up to his 1980 album Glass Houses.
Joel, seated at a grand piano in one of those waterfront mega-mansions he once envied as a kid, offers honest insight into how he became the man he is. Raised in a lower-class household by a single mother after his parents divorced when he was eight, he was a voracious reader and a passionate piano player—even if school wasn’t exactly his thing. Did he play the way his parents wanted him to? Not necessarily. But hey, it comes down to reality—and that’s fine with him, because he let it slide. (Yes, expect a few lyrics to sneak in here). As he bounced from band to band, Joel started getting a taste of what his future could look like. In 1967, at just 18, he joined The Hassles and began a long-standing partnership with drummer Jon Small. The two later formed the heavy rock duo Attila in 1969—though the group only produced one album before life took an unexpected turn. After their split, Joel entered a dark period, culminating in not one but two suicide attempts before eventually finding a new path as a solo artist.
Following an eye-opening experience at a rehabilitation center, Joel would go on to sing a song, as he is our piano man, and release his first solo album, 1971’s Cold Spring Harbor with Just Sunshine records and producer Artie Ripp. It would be their only collaboration. He soon moved to Columbia Records under Clive Davis, where he released a string of iconic albums: Piano Man (1973), Streetlife Serenade (1974), Turnstiles (1976), The Stranger (1977), 52nd Street (1978), and Glass Houses (1980). Though this is where Part One ends, the first half doesn’t shy away from exploring both the triumphs and the struggles—including the lingering shadow of Ripp and other early choices that continued to impact his career.
Throughout this first chapter, we also get an intimate look at the first woman behind the man: Elizabeth Weber. If you’re unfamiliar with their history, I’ll leave some of the surprises unspoiled. But over their nearly twenty-year relationship, Weber—also his manager—stood by him through both the highs and the lows. The documentary explores not only their personal connection but also the challenges she faced navigating a male-dominated music industry, pushing Joel’s career forward to his first top 10 hit with the ballad “Just the Way You Are”—a song no one, including Joel, initially wanted released as a single. And So It Goes doesn’t shy away from the complexities and eventual unraveling of their relationship.
Directors Lacy and Levin offer a rich, layered portrait of the music icon. With a blend of home videos, photographs, concert footage, and interviews, they paint both the light and the dark with equal care. In addition to Joel’s own reflections, we hear from those closest to him—Weber, his bandmates (Small, Russell Javors, Liberty DeVitto, and Richie Cannata)—as well as the musical legends he’s inspired, like Bruce Springsteen, John Mellencamp, and Paul McCartney. Editors James Pilott, Steven Ross, and Kris Liem have woven together a fascinating, behind-the-scenes journey. One standout moment (among many) is a moving montage set to “New York State of Mind,” featuring nearly every artist under the sun performing the anthem—it just might have you singing along in your seat.
All in all, this love letter to Joel will have you singing in your seats and eagerly await what’s to come in Part 2.
*Note - Part 1 debuts on Max in July with Part 2 scheduled for later in the summer.
Review by Cinephile Mike
Cuerpo Celeste
⭐️⭐️⭐️⭐️
Film Production Companies: Planta, Horamágica, dispàrte, Oro Films
Rating: NR / Run Time: 97 minutes
Language: Spanish
Director: Nayra Ilic García
Writer: Nayra Ilic García
Starring: Helen Mrugalski, Daniela Ramírez, Néstor Cantillana, Mariana Loyola,
Nicolás Contreras, Clemente Rodríguez, Erto Pantoja, Claudio Troncoso
and Sara Becker
“That’s life though. Very dark.”
How do you rebuild what has fallen apart? That’s the central question for 15-year-old Celeste (Mrugalski) in this quietly devastating coming-of-age mystery set against the haunting beauty of the Atacama Desert. It’s New Year’s Eve, 1989. Celeste is on a remote Chilean beach with her family—her father Alonso (Cantillana), mother Consuelo (Ramírez), beloved Aunt Ema (Loyola), and others, including her crush Jano (Contreras). She’s full of teenage spirit: smoking, flirting, splashing in the sea, learning to drive. Her parents take her on desert expeditions, fascinated by whale bones and strange markings on the land—clues to something deeper, perhaps darker, but what? As fireworks erupt and a radio announces an upcoming speech by Pinochet, the mood shifts, but the revels carry on. The next morning, while playing paddleball, Alonso collapses and in this moment, Celese’s world will be forever shattered.
Months later, Celeste is living with Aunt Ema. Her mother, unable to cope, sent her away after the tragedy—creating a painful rift. With the impending solar eclipse, Ema must return to work, and as a result, Celeste will have to return to her hometown. What was once familiar, now feels alien. In only seven months time, everyone has changed, and to her surprise, so has she. The bright-eyed girl in the bathing suit is gone; in her place is a teenager navigating grief, identity, and betrayal who finds comfort wrapped in her father’s old jacket. Celeste encounters old friends and unsettling truths—some about the people she trusted, others buried in her father’s belongings. As her understanding deepens, so does the distance between who she was and who she is becoming.
A kindred spirit to Debra Granik’s slow burn, 2010 Ozark thriller Winter’s Bone, García enthralls you into her own vast world of the beaches and deserts in Chile as we follow Celeste into a vast, textured world of emotional and physical landscapes that result in childhood innocence lost, in inner strength found. Newcomer Mrugalski is quietly remarkable. With subtle gestures and an expressive gaze, she conveys a young girl forcing herself to grow up too quickly, even if it may not be best for her. It’s a performance that recalls Jennifer Lawrence’s breakout: restrained, raw, and powerful. Contreras also impresses as Jano, the once-idealized crush whose presence now feels uncertain. Their awkward reunion underscores how time and trauma can redraw relationships. Meanwhile, the film’s evocative and haunting score by David Tarantino adds emotional depth, letting silences speak louder than words.
Sergio Armstrong’s cinematography is simply stunning. His shots of sand, sea, and sky aren’t just beautiful—they’re emotionally resonant, capturing the isolation between Celeste and her mother as much as the terrain itself. As the story crescendos toward the eclipse, the film poses a difficult question: can broken connections be repaired, or are some fissures too deep?
All in all, in just her second feature, Garcías voice presents a thought provoking, quiet mystery that shows the sometimes uncomfortable process of growing up.
Review by Cinephile Mike
Kerouac’s Road: The Beat of a Nation
dis. Universal Pictures
Rating: NR / Run Time: 89 minutes
Director: Ebs Burnough
Writer: Eliza Hindmarch
Starring: Michael Imperioli, W. Kamau Bell, Josh Brolin, Matt Dillon, Natalie Merchant,
Ann Charters, David Amram, Jay McInerney, Kim Jones, Jean-Christophe Cloutier,
Joyce Johnson, Diana Langley, Tenaj Melendras, Faustino Melendras, Amir Staten,
Angel Staten and Karlynne Staten
“My subject is America, and I must know everything about it.”
Review by Cinephile Mike
Lemonade Blessing
⭐️⭐️⭐️⭐️
Rating: NR / Run Time: 100 minutes
Language: English
Director: Chris Merola
Writer: Chris Merola
Starring: Jake Ryan, Skye Alyssa Friedman, Jeanine Serralles, Michael Oloyede,
Todd Gearhart, Miles J. Harvey, Alexander Jameson, James Freedson-Jackson
and Barbara Rosenblat
“Is there anything you’d like to thank God for?”
John (Ryan) is about to begin every adolescent’s nightmare: a new high school. Not just any school, but a rigid Catholic one, handpicked by his holier-than-thou mother, Mary (Serralles). A child of divorce, John is pulled between his mother’s strict religious worldview—where everything is sinful (she even waits outside the bathroom to make sure he isn’t tempted to sin while bathing)—and his father Pete’s (Gearhart) more relaxed, woo-woo weekends filled with meditation and affirmations. Making sure his hair is combed just right and his shirt tucked in to avoid judgment, John heads off.
Within five minutes of arriving—and meeting the principal Mrs. Groff (Rosenblat), who could give Severus Snape a run for his money—he sees Lilith (Friedman), and he’s instantly hooked. Thanks to her, he lands in detention on his very first day, where he meets Angelo (Harvey), busted for watching inappropriate videos, and Gary (Freedson-Jackson), who’s there for sleeping (a recurring theme—this kid would probably snooze through a first date). Together with Connor (Jameson), they form the usual crew of curious, hormone-driven teenage boys. But John wants more than just shared videos and lunch-table jokes—he wants Lilith.
Through a series of events, he finally gets the chance to talk to her again and asks her out. As their relationship develops, John finds Lilith both captivating and deeply challenging. While he’s eager to be with her, she begins to ask him to perform a series of increasingly bizarre and blasphemous acts, supposedly in the name of “love.” Without spoiling anything, each one pushes boundaries, and with each act, John loses a little more of himself. He wants to do the right thing—but instead of continuing his Eucharistic Minister studies under the kind guidance of Brother Phil (Oloyede), he plunges further into his entanglement with Lilith. He enjoys it, even relishes the envy from his friends who see him getting what they aren’t. But sweetness turns sour, and soon John is forced to question everything—his beliefs, his identity, and his place in the world.
In his debut feature, writer/director Merola nails the emotional rollercoaster of teenage angst—from awkward first dates to the messy, confusing beginnings of physical intimacy. The interactions between Ryan and Friedman are so adorably uncomfortable at times, you might find yourself looking away. Merola has crafted two characters who are at once innocently naïve and emotionally bruised by the dynamics of their parents, making them both perfectly and disastrously matched. His script is sharply satirical, especially in how it skewers religious dogma through clever dialogue and subtext. Ryan and Friedman deliver lived-in, honest performances, with awkward chemistry that feels authentic. Despite being slightly older than their characters, they embody the spirit of these teens with remarkable accuracy.
In the vein of Brian Dannelly’s Saved! (2004), Merola explores what happens when young people are forced to reevaluate everything they’ve been taught—especially when belief systems start to crumble under pressure. With this kind of honest, insightful filmmaking, Merola proves himself a fresh voice worth paying attention to.
All in all, Merola offers a sharp, sincere take on the innocence—and chaos—of youth.
Review by Cinephile Mike
Relay
⭐️⭐️⭐️⭐️
dis. Bleecker Street
Production Companies: Black Bear, Sigma Films and Thunder Road Pictures
Rating: R / Run Time: 112 minutes
Language: English
Director: David Mackenzie
Writer: Justin Piasecki
Starring: Riz Ahmed, Lily James, Willa Fitzgerald, Matthew Maher, Eisa Davis
and Sam Worthington
“They call you back, or they don’t.”
When a whistleblower has second thoughts, what can they do? Well, they can call Ash (Ahmed). Ash works as an intermediary between corporate whistleblowers and the companies they work for, ensuring both sides are safe and protected. After closing one case with a client, another quickly reveals itself. Sarah (James) a doctor working for a major biotech company, has uncovered a document detailing the dangerous toxicity of an agricultural product. She took a rather extensive report, and it’s landed her in a harrowing situation—she’s being followed, tapped, and harassed by a group led by Dawson (Worthington). There’s always a van outside her window. She constantly feels eyes on her. She’s referred to Ash. He engages with clients only through the Tri-State Relay Service, a phone system used to connect with the hearing impaired—allowing him to maintain total disconnection from the people he helps.
Taking on Sarah’s case, he secures copies of the documents, arranges a meetup with Sarah’s company, throw Worthington’s lackeys off course. In all his previous cases, Ash keeps a strict distance—never speaking directly with clients, always operating behind layers. But something about Sarah begins to change his usual behavior. A man with his own complicated past, Ash chooses to live in the shadows—aside from the occasional AA meeting, hinting at deeper demons. But as he gets deeper into Sarah’s case, he realizes this situation isn’t like the others. And maybe some of his past cases weren’t as resolved as he once believed. Set against the fast-paced hum of New York City, Ash must do whatever it takes to protect Sarah—even if it means stepping out from the shadows he so carefully hides behind.
In the grand tradition of Hitchcockian thrillers, Justin Piasecki’s script keeps you guessing until the final frame. He understands the power of a good redirection, crafting characters who at first seem superfluous but reveal unexpected purpose. The film also finds a strong moral center in the ambiguity of its premise: whistleblowers aim to expose wrongdoing—but Ash, in protecting both clients and corporations, helps bury that same wrongdoing. At what point does that shift from service to complicity? There are moments where the film might benefit from some restraint—especially as the narrative winds down—but it maintains enough momentum to keep you enthralled. David Mackenzie draws solid performances across the board, with Ahmed standing out. In a role that is nearly silent, his gravitas shines through. He speaks only when necessary, letting his expressive eyes and presence do the heavy lifting—a choice that becomes another clever misdirect.
All in all, this is a satisfying, tightly wound thriller that will grip you until the final moment—and leave you wondering if that’s really all there is.
Review by Cinephile Mike
She Dances
⭐️⭐️⭐️⭐️⭐️
Production Companies: Macaroni Art Productions and Wavelength
Rating: NR / Run Time: 93 minutes
Language: English
Director: Rick Gomez
Writer: Rick Gomez and Steve Zahn
Starring: Steve Zahn, Audrey Zahn, Mackenzie Ziegler, Rosemarie DeWitt,
Sonequa Martin-Green and Ethan Hawke
“That’s all you have to do, just be there for her.”
Jason (Steve Zahn) is at a loss. After the death of their son Jack, his marriage to Deb (Rosemarie DeWitt) has fallen apart, and his daughter Claire (Audrey Zahn), now living with Deb, wants nothing to do with him. Jason and his friend/partner Brian (Ethan Hawke) are preparing to sell their distillery business when he gets a call: Deb’s mother has had an accident, and Deb needs Jason to chaperone Claire to her final high school dance competition—a competition Claire has spent years preparing for. Jason is the last person Claire wants involved, but with no other option, she reluctantly agrees. Initially hesitant himself, Jason is eventually pushed into going by Deb and Brian.
He hopes it might be a chance to reconnect with Claire—only to discover he’s not just chaperoning her, but also her dance partner Cat (Maddie Ziegler). That makes any personal father-daughter bonding take a backseat. At the competition, Jason tries—awkwardly—to support his daughter, but keeps falling short and quickly becomes the butt of jokes. Meanwhile, Claire and Cat stay laser-focused on their goal, guided by their teacher Jamie (a warm and funny Sonequa Martin-Green). When Cat suffers an injury and has to head home, Jason and Claire are left alone to finish out the week. And slowly, through small shared moments and a growing mutual vulnerability, the two begin to do what they haven’t in years: talk.
Here’s the thing—on paper, this may sound like a familiar story: tragedy creates emotional distance, communication breaks down, and a final act brings reconciliation. But what sets this film apart is its gentleness. Co-written by Zahn and director Rick Gomez, the script is quietly affecting, wisely staying focused on the central relationship instead of getting lost in side plots. A key element here is the real-life chemistry between Steve Zahn and his daughter Audrey. There’s an intimacy and honesty in their scenes that can’t be faked. Their quiet moments feel lived-in and earned.
Zahn delivers a subtle, deeply moving performance—you want to reach into the screen and hug him. And Audrey Zahn, in her film debut, more than holds her own. She captures Claire’s pain and frustration with remarkable nuance, and as a trained dancer, her stage sequences are genuinely beautiful. The third act routine, especially, is a heart-stirring payoff. While the supporting cast—DeWitt, Ziegler, and Martin-Green—add warmth and balance, this is clearly the Zahn show. At a tight 93 minutes, the film knows exactly where to focus: on the fractured family unit and the delicate, unspoken work of healing.
All in all, this is a tender portrait of grief, growth, and connection—set against the unlikely backdrop of a dance competition—and a reminder that even the smallest gestures can leave lasting marks.
Review by Cinephile Mike
Awaiting the Lightning Bolt
⭐️⭐️⭐️⭐️⭐️
Production Company: Aardman Academy
Rating: NR / Run Time: 4 minutes
Director: Marco Russo
Writer: Marco Russo
Starring: Lupo Misrach and Lorenzo Ferrero
In early Renaissance Italy, an elderly man sets out on a singular, almost mythical quest—to catch lightning in a jar. He has planned carefully, with intention and urgency. The title plate hints at a deeper mystery: the lightning is destined for a jar, and the jar for a heart. But whose heart? And why? As we follow him, he will combine imagination and science as we have seen with the likes of DaVinci and Benjamin Franklin as he relentlessly sets off and faces each hardship along the way. In his second short film, Marco Russo manages to take the viewer on a surprisingly rich emotional journey in just four minutes, from highs to lows and back again. Given that this piece was produced while studying at the Aardman Academy, it is no surprise that it borrows from the style of Shaun the Sheep and his small cast of characters will endear themselves to your heart as quick as Shaun, the Framer and Bitzer did. Composer Matt Loveridge’s score enhances the emotional depth of the film, perfectly syncing with Russo’s narrative beats. Together, this creative team subverts expectations in delightful ways. All in all, if you are a stop-motion fan, especially in the Aardman tradition, you will enjoy this short and be inspired to run out and catch your own lightning bolt.
Review by Cinephile Mike
God’s Lonely Magician
⭐️⭐️⭐️⭐️
Production Companies: Deli Flower Films, Eight Flow Studio and REDINS
Rating: NR / Run Time: 14 minutes
Language: English
Director: Walker Higgins
Writer(s): Walker Higgins
Starring: Becca Blackwell, Ben Groh, Janice Amaya, Ana Stan, Matthew Christian, and Zach Scott
“The only thing I like about clowns is that they make me feel a little less pathetic.”
Paul (Blackwell) is not your run of the mill magician. He actually has the magic in him. His hands are magical. When he was younger, he begged God to be special, and his wish was granted. Are you going to be his volunteer? Maybe he'll pull the ring your grandmother was buried with from behind your ear. it’ll be a never-ending ribbon to wrap around a dozen oak trees. From kid party to kid party, it's always the same. While the kids are being entertained, the dads stand outside swigging beers and complaining about their kids while the moms numb the pain with glass after glass of wine. Although sometimes - sometimes - Paul is able to get more than just a little tip from his patrons, regardless of who they are. He’s searching. For a replacement for his lost love. For a spot of meaning in a troubling world. Who could that be? Higgins structures an fascinating short film that subverts expectations as we watch Paul drift through a series of surreal, touching, and strange interactions at just one party. Blackwell presents a heartfelt variant of the Everyperson that you can't help but root for. Equal parts laugh-out loud funny and bizarrely cringe-worthy, Higgins keeps you guessing right up to the final frame what Paul’s hands will do next. All in all, this absurdist comedy casts its spell and leaves you believing that things can, maybe, get better.
Review by Cinephile Mike
The Hicks Happy Hour
⭐️⭐️⭐️⭐️
Production Company: American Film Institute
Rating: NR / Run Time: 16 minutes
Language: English
Director: Kate McCarthy
Writer(s): Michael Kefeyalew and Kate McCarthy
Starring: Phoebe Kuhlman, Ella Victoria, Charley Rowan McCain, Tristan Wilder Hallett, David Zaugh, Andre Hotchko and Adam H. Marchand
“Without dad, we are the ICKS.”
In the spirit of 1960s and ’70s variety shows—think The Sonny and Cher Show, The Monkees, or even the religiously charged PTL Club with Jim and Tammy Faye Bakker—we now have (the fictional) The Hicks Happy Hour. This wholesome, weekly family showcase features parents Jill (Kuhlman) and Richard (Marchand), along with their children Susan (Victoria), Val (McCain), and Davey (Hallett), as they bring smiles to audiences with heartfelt family harmonies. But today, something’s off—Richard is missing. With his absence threatening everything from merchandising deals to the renewal of a second season, the family scrambles to hold it all together under the watchful eye of their boss George (Hotchko).Jill, doing her best to salvage the show, invites guest star Gene Camden (Zaugh) onstage for a duet—hinting that there may be more going on behind the scenes than anyone realizes. As the stage lights shine bright, it becomes clear they’re masking something far darker in the wings. Will Richard return? And what toll does this televised fantasy take on the family behind it? McCarthy and Kefeyalew deliver a fantastic glimpse into authentic early 1970s style of TV programming capturing its kitschy charm while also exposing its undercurrents of misogyny and emotional strain. A fast paced 16 minutes, we see the self-destructive narrative of what fame can do to a family. Ariano Treviño Angelone’s cinematography playfully contrasts the modern widescreen look of behind-the-scenes drama with the nostalgic, rounded edges of 4:3 TV during musical numbers, evoking the sweet innocence of the era. All in all, a delightful, if too brief (I would have liked to seen what happened next), look at the behind the scenes of must see TV.
Review by Cinephile Mike
How I Learned to Die
⭐️⭐️⭐️⭐️
Language: English
Rating: NR / Run Time: 19 minutes
Director: Manya Glassman
Writer: Manya Glassman
Starring: Lola Darling, Rebecca Gibel, John Hillner, Aijia Tang and James Wert
“Let me provide some context.”
If you had a 60% chance of dying within four days, what would you do? This is the question on Iris' (Darling) mind. As a result of a crippling tumor on her third vertebra, she spends her days in a neck brace, pondering what her teenage self should accomplish. She keeps a list in her notebook. Among those things: first kiss, get drunk, drive a car without a license...all honest firsts for a teenager looking towards the end. As she tries to check items off, new ones keep getting added as they come to her. Providing comfort, and a list assist, is her best friend Kara (Tang), who, for a fellow teen, asks some surprisingly deep, reflective questions. There’s also her friend Drew (Wert), who helps turn a few of those list items into reality. Not providing quite as much (at least in Iris’ eyes) are her mother, Rachel (Gibel) and father, Sam (Hillner), who are finding different ways to process what is happening to their daughter. In the midst of all this, Glassman's script is a pleasant, if somewhat mixed bag. It opens with a great break-the-fourth-wall moment, and closes with a satisfying ending — well, as satisfying as it can be given the circumstances. The pacing in the middle wobbles a bit, but for a twenty-minute short, it rights itself when it counts. The standout here is Darling. Her energy is infectious, grounding the performance with warmth and heart. In her acting debut, she brings a bubbly presence that wouldn’t feel out of place in a primetime sitcom. All in all, this is a touching dramedy with real heart and reminds us that despite our age, while we all process life’s challenges differently, we still need to live.
Review by Cinephile Mike
Terror Night
⭐️⭐️⭐️⭐️
Production Company: Lampray
Rating: NR / Run Time: 13 minutes
Language: Swedish
Director: Jakob Arevärn
Writer: Jakob Arevärn
Starring: Edith Vallo, Toft Svedjeland and Sven Björklund
“If she can’t sleep, I can’t sleep either.”
In a small Swedish town, there’s a major complaint about the "kids" and and the loud music blaring from their A-traktors. It’s keeping residents up at night, and despite police involvement, nothing seems to change. This is the news report we are provided as we meet Josefine (Vallo) who is upgrading her own jalopy A-traktor to having some of the best bass in the area. Once completed, she goes for a ride with her friend and while hanging out, she spots Billy (Svedjeland), her crush. In a fun twist, she picks him up and takes him for a ride that’s all about that bass - especially after he’s blown away by her speaker work. They head into the countryside and land at a secluded spot to have some fun. But just as things are heating up, a strange light flashes into the car. It seems to vanish… until it comes back. It seems to vanish, and Josefine and Billy pick up where they left off…until it comes back and out of nowhere appears Hägglund (Björklund), who warns them that neither he nor his wife can sleep, and demands they turn the music down. Neglecting the warning, Josefine shrugs him off, despite Billy’s warning, and keeps the music going. Then all hell breaks loose. Terror Night cleverly plays with classic horror tropes to build a unique and entertaining duo at its center. It subverts a few expectations, delivering a pulpy love letter to the horror flicks of a bygone era. If there’s a flaw, it’s that a few lingering questions never quite get answered, which may leave some viewers a little disoriented. All in all, this is a fun little horrific romp in the woods that would benefit from a fuller, more expanded story.
Review by Cinephile Mike