The Face of Horror Review: Striking But Bland

The Face of Horror may just be one of the best looking films of the year but is let down by pacing issues and underdeveloped characters.

Whilst The Face of Horror takes a while to get to the real substance of the story, and it really is a while, the intriguing premise keeps you hooked long enough to see a satisfying ending.

It’s instant gratification to see The Face of Horror’s title card splattered on screen in red font like something out of a Roger Corman movie. There’s hope given that this Corman-esque will shine through throughout, but it doesn’t quite reach those highs. Whilst the slow burn of the first hour helps us get to know these characters and their side quests, it’s almost too much to get to the real action of the film. We know the horror is coming, but when will it take the ghastly turn we all know it will?

Eleanor (Kristine Froseth, of The Buccaneers) loves her gorgeous knight boyfriend Edward (Jonah Hauer-King, of The Threesome) and spends her days fantasizing about their life together. From the start, there’s something off about him and she doesn’t quite know what. He’s so dreamy; how could there ever be anything wrong with him? We know, though. We know that minutes before he proposes to Eleanor, Edward has slain her father in the middle of the woods. However, she agrees to marry him, not knowing he’s the one behind the ghastly muder. He promises to find whoever killed her father and bring justice to the family and she trusts him. 

We follow Edward, and his knight friend Richard (Leo Sutter) as they ride their horses through mediaeval villages, sometimes killing people, sometimes finding pretty women they’d rather occupy their time with. One day, Edward finds himself particularly enamoured by Isabel (Bella Heathcote), a rich, beautiful blonde. He’d risk it all for her, and sets out a plan to make Eleanor, who’s now at home wasting away with their child, to seem unfaithful so that he can wed Isabel instead. It’s never simple lying, though, Edward finds out. He has a lot more misfortune coming his way than he could have ever imagined. 

Whilst the first hour is very repetitive and predictable, the turning point when the real horror elements kick in just about redeems the film. It’s interesting to get to know these characters but it’s still never in enough depth to justify why we’re spending that long with them before anything of any note happens. Froseth is great with what she’s given but there’s a lack of insight into Eleanor to care about her on the level that we need, especially with the fate that her character holds. The pacing is also off, so it takes such a long time to get to the actual good stuff. Not to take the title too literally, but we’re here to see the face of horror, so where is it? 

Hauer-King is great as a character with no morals, especially after his work in Doctor Who. He has the range to play the sweetheart but also the villain hidden behind a charming face. Froseth delivers a worthy performance but is held back by the pacing of the film. Her work in Sharp Stick and Her Private Hell showcase her as a sensational actress more than The Face of Horror does, but she still does fine, particularly in the latter parts of the film when it takes a turn tonal wise. 

The one thing The Face of Horror has going for it is that it’s the best looking film of the year (Fatherland, you may have just been dethroned). DoP M. David Mullen worked with Biller on The Love Witch, and also on Jennifer’s Body and The Quiet, all which have underlying feminist themes. It’s a technicolour dream that never has a dull moment, and is bound to be a future cult classic just by the way it looks. The costume design and makeup, too, are crucial to this film and both work to aid each scene into being successful visually. Eleanor’s character relies heavily on both those departments so without it, nothing would work. It’s just a shame the story progresses too slowly for it to flourish in every aspect. 

The Face of Horror will be screened at the BFI London Film Festival on October 15-17, 2026.