Set to premiere as a Shudder Original Film on February 14, 2025, The Dead Thing promises to be a gripping blend of romance and Horror, arriving just in time for Valentine’s Day.
The film stars Blu Hunt (The Originals series, The New Mutants 2020) as Alex, a young woman drifting through meaningless connections made on dating apps. It takes a dark turn when she falls for the enigmatic Kyle, played by stuntman Ben Smith-Petersen in his first leading role. As their passionate affair deepens, Kyle’s hidden secret transforms their infatuation into something far more dangerous.
Written and directed by Elric Kane (Murmurs 2004, Kissy Kissy 2007), The Dead Thing is strikingly atmospheric. It visually and tonally immerses viewers in its eerie, discomforting world. The film’s deliberate use of color shifts between warmth and decay, mirroring the characters’ sullen or anxious states. A textural, minimalist score blurs the line between music and sound design, heightening the tension with subtle, disquieting layers.
Further amplifying this unease is the film’s deeply sexual nature—intimate scenes that, rather than offering warmth or connection, pulse with an eerie, almost predatory energy. This fusion of sensuality and dread makes certain moments profoundly uncomfortable, culminating in an experience that lingers long after the credits roll.
While the film’s atmosphere makes it intriguing to watch, its plot remains fairly simplistic. The core narrative is one audiences have seen many times before—a tale of passion, secrecy, and obsession. However, a crucial twist shifts the story’s trajectory, transforming what could have been a standard Psychological Drama into a full-fledged Horror. Though this genre shift adds intrigue, it does not entirely mask the familiarity of the premise, making the film more reliant on its unsettling tone and performances to leave a lasting impact.
Furthermore, its exploration of abusive relationships lacks nuance. It presents a surface-level depiction of manipulation and toxicity that feels more like a checklist of genre tropes than a deep or thought-provoking examination. As a result, the film becomes increasingly predictable, following a familiar path without offering fresh insight or complexity to its central dynamic.
Hunt delivers a compelling performance, capturing the raw emotions of frustration and apathy that often accompany modern dating. Her portrayal of Alex feels authentic, reflecting how many women today navigate the complexity of relationships, torn between the desire for connection and the overwhelming sense of disillusionment. Smith-Petersen’s portrayal of Kyle is less nuanced but not any less terrifying. While his performance lacks the layers that Hunt brings to her character, he effectively embodies the unsettling charisma of a man whose charm masks a darker, more dangerous side. His presence on screen is chilling, and his transformation from seemingly sensitive to eerily menacing heightens the film’s sense of dread.
While releasing a Relationship-Horror film on Valentine’s Day makes sense thematically, audiences should be forewarned that The Dead Thing is relentlessly grim from start to finish. There is little room for lightheartedness or a dark laugh (no Horror-Comedy elements here); instead, the film immerses viewers in a dark, oppressive atmosphere that never lets up. For those seeking an unflinching, uncomfortable dive into obsession and manipulation, The Dead Thing offers a visceral experience—though it is certainly not for the faint of heart. That is why Cryptic Rock gives it 2 out of 5 stars.
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