‘Faces Of Death’ (2026) Review – A Wildly Unsubtle Ride Into The Bowels Of The Internet

The times we live in are unprecedented. And, sure, every generation thinks this, but the evidence right now seems so clear. Anyone who spends any amount of time online is aware that the floodgates of what is appropriate for us to see have opened, and wide. Any person with an account on any social media service can see images filled with violence, sex, and almost literally anything else, with a single swipe. Plus, it has brought us the opportunity for attention as “content creators,” its own subtle, complicated addiction. And that does not even take into account the constant overwhelming news cycle, which will often show us images that none of us were meant to take in, particularly in 10-second snippets. Nonetheless, this is the price we have paid for the “freedom” of the internet. It may have started with the idea of seeing whatever you search for, but it has mutated into algorithms telling us what we should see, often to our own detriment. And when it comes to genre, there is nowhere better to explore this idea than that of horror, which leads us to Faces of Death (2026).

This film, not to be confused with the cult classic from 1978 (though that is referenced liberally), follows Margot (Barbie Ferreira), who works diligently for a site, either approving or flagging videos as inappropriate. As she clicks her way through her shift, she comes upon something odd: a video that depicts a beheading, and she is taken aback. She is almost sure that what she has seen is real, but no one believes her. The reasons are understandable; creators have gotten quite skilled at making things look real, and Margot has a past connected to shame and violence recorded and posted online.

Director Daniel Goldhaber is constantly pushing boundaries and seems uninterested in limiting himself in regards to style or topic. After all, no one would have expected the director of How to Blow Up a Pipeline to delve not only into horror, but to make reference to a cult classic of Generation X like Faces of Death. However, his camera work here, aided by cinematographer Isaac Bauman, makes us feel the anxiety of Margot and others in dangerous situations. As the frame moves, it has an energy to it, but never feels truly out of control, a mistake many horror filmmakers have made. Gone should be the days of the jumpy camera that nearly provides motion sickness for its viewers. In this case, we are brought along on the chase, all while having the ability to lean in and track the action.

Faces of Death is clearly a movie that has a lot on its mind, and it is deeply uninterested in hiding that. If only the script, written by Goldhaber and Isa Mazzei, trusted the audience a tiny bit more, this could move into the realms of horror greatness. As it is, the first half feels like a solid internet detective story, led by an incredible performance by Ferreira, but it is interjected by a relatively unimaginative serial killer plot line. Ferreira is the engine that makes this film run, and her talents shine through, whether it is her expressive eyes taking in media or her palpable panic when she is doubted by those around her.

The killer, Arthur (Dacre Montgomery), is, of course, the owner of the account for the video that Margot first flagged (along with others that remake scenes from the original film). It is never a mystery that these killings are real, as we see acts of violence from his perspective. This is a choice made that is to the slight detriment of the film. If it were in question, it would have allowed for more interactions with her co-workers, like Gabby (a severely underutilized Charli xcx), who clearly is less concerned about the supposed murders. The few scenes that they do have together are full of tension and leave us wanting much more. Instead, the script chooses to focus on a few sexual sight gags that are more groanworthy than anything else. The vast majority of the sequences are filmed well and build appropriate tension and even lead to a few wins at the heinous acts. 

The problems really come in when our villain attempts to interact in any real way with his would-be victims. The result is everything we have seen before from an unhinged killer. Although the film takes advantage of terrific staging when the killer appears silently, be prepared to resist the urge to roll your eyes at some of his antics. There are several gruesome kills that mimic the original Faces of Death, so those of us who remember watching that (when we weren’t supposed to) will have some bits of enjoyment in that memory.

When the climax of the film seems to be reached, there is a bit of massaging of the plot to extend the runtime that you can feel. That being said, the ending, especially due to Ferreira absolutely owning the screen, is well worth the wait. There are some stylish filmmaking flourishes that need to be seen as the film wraps up, and once the speeches are concluded, it makes for a memorable finisher. 

Faces of Death is wildly unsubtle, but terrifically effective. Goldhaber clearly knows what he has in Barbie Ferreira and unleashes her to great effect, even as the world around her unravels. If you have been on the internet for more than five minutes, you will see where the film is heading immediately, but that certainly will not stop your enjoyment. It is unfortunate that it never reaches the heights that it desires and has the ingredients for, but Faces of Death understands its roots enough to give us a “final girl” to remember.

Faces of Death will debut exclusively in theaters on April 10, 2026, courtesy of Independent Film Company and Shudder.