Faces Of Death (2026)

By: Mike Ward on Friday, April 10

R Running Time: 98 mins

SHOULD I SEE IT?

YES

  • Barbie Ferreira delivers a committed and compelling performance.

  • An intriguing movie exists in here about what it means to live your life online and the desensitization which comes from the plethora of images we see on a daily basis.

  • Offers a strong setup and moments of extreme tension.

NO

  • Please tell me we are not attempting a Faces of Death renaissance of some kind. Who wants that?

  • Is this a socially conscious commentary piece or are we just using that conceit as a guise to make a slasher flick?

  • The last act of this movie is simply illogical and inept.


OUR REVIEW

In Daniel Goldhaber’s new iteration of Faces of Death, he wants his movie to be two things at the same time: a sharp, pointed commentary on online desensitization and internet fame, and a gory, serial killer slasher flick using the notoriety of the 1978 cult film. Along with screenwriter Isa Mazzei, Goldhaber struggles to succeed at either one, crafting an intriguing film that hints at bigger ideas but becomes increasingly hollow and absurd.

Alongside groundbreaking horror movies like The Texas Chainsaw Massacre and the original Halloween, the 1978 faux-documentary Faces of Death became something of a cinematic Boogeyman. The film lived in whispered conversations, was considered too extreme to rent with other mainstream titles at the video store, and developed a strange, unsettling lore around its existence. Marketed as a documentary exploring the complexities of death, narrated by an actor portraying a guy named Dr. Frances B. Gröss (natch), the film used a mix of select images and newsreel and archival footage of actual deaths, but faked nearly all the “captured on film” sequences depicted in the film. While many felt they were watching something “banned in 46 countries,” in reality, they were seeing a movie created by props and special effects teams. 

By the time I saw the thing in eighth grade with a friend, we were convinced it was real. So was the video store clerk who somehow allowed us to take it home. As two characters discuss in Goldhaber’s film, Faces of Death was essentially a viral video before social media and the concept of viral videos ever existed.

Now, we smash-cut to 2026 and Faces of Death is back again. And, look, I will give Goldhaber and Mazzei credit for developing an interesting premise and idea here. 

Barbie Ferreira plays Margot, a content moderator for Kino, a TikTok-style social media platform. She spends her day reviewing flagged content and determines what remains on the site and what gets pulled. Emotionally, Margot is numb and the work is unrelenting. Ferreira is one of the film’s most compelling elements. She can convey boredom as convincingly as she can convey a manic breakdown or a shocking or unnerving reaction to something. Perhaps best known for her stint on “Euphoria,” Ferreira gives us the full gamut, in a performance that simply deserves a better movie.

Largely keeping to herself, Margot confides in her best friend and roommate Ryan (Aaron Holiday). Recognized often when she goes out in public, Margot remains haunted by a viral video tragedy that took the life of her younger sister. 

Margot begins seeing clips which are increasingly more elaborate and believable and show what appear to be actual murders taking place. She discovers audio in the videos is lifted from narration found in the 1978 film and becomes convinced someone is recreating the murder scenes in real life, drawing inspiration from the original film. 

A movie analyzing content moderation, its impacts on both the moderator and the users impacted by those decisions, and where the line is drawn on a company’s obligation to its subscribers, is one worth making. 

When is too much actually too much? Why do we tolerate severe, brutal violent content, but bristle at the hint of anything sexualized? Are we concerned that there is a generation growing into adulthood desensitized and numb about major issues in the world? I wish Goldhaber and Mazzei spent more time exploring those ideas instead of merely flirting with them as a means to tell a second competing story about a serial killer who abducts influencers and kills for clicks, engagement, and reach.

Margot eventually goes head-to-head with Arthur (Dacre Montgomery), our serial killer, who first presents himself as an unnerving mobile phone salesman who uses his employer’s database to track down the location of his victims. Initially a terrifying presence on screen, Arthur simply becomes too cartoonish to be taken seriously. 

By the time Faces of Death reaches its final act, the film becomes so illogical and frustrating that you start to regret spending any time at all with this brand, concept, or franchise.

In a world saturated with videos and headlines discussing violence, tragedy, and the marketing of outrage to the masses, are we really resurrecting a franchise that exists for the sole purpose of sensationalizing murder and death? Honestly, that feels exhausting, a bit irresponsible, and avoids engaging in the larger conversation Faces of Death seems too cowardly to have.

CAST & CREW

Starring: Barbie Ferreira, Dacre Montgomery, Josie Totah, Aaron Holliday, Jermaine Fowler, Nathaniel Woolsey, Charli XCX

Director: Daniel Goldhaber
Written by: Daniel Goldhaber, Isa Mazzei
Based on the film “Faces of Death,” written by John Alan Schwartz
Release Date: April 10, 2026
Independent Film Company