‘River’ Review: Jane Levy Anchors a Fearlessly Cruel and Visceral Survival Slasher

The survival slasher “River” begins in an unconventional way. We are introduced to the killer’s first victims through voice only. We hear a young couple fooling around in the woods. Cinematographer Nick Matthews establishes the setting and shows us a few classic images — an old car, some beers, a clearing in the trees. We hear a killing, but don’t see it. Then, we see the bloodied body of a young man, lying in the grass. Suddenly, a distressed young woman runs toward the camera in the center of the frame, and we see the killer grab her from behind. It’s a compelling image, especially on the big screen. The bloody victims starkly contrast with the setting’s lush greenery. This is a beautiful place where evil lives. Director Joshua Giuliano is giving us a classic slasher in all its casual cruelty.

Then, we get the story: Three siblings are mourning the death of their father, and they have decided to go out in his beloved boat onto his favorite river to scatter his ashes. Lucy (Jane Levy) is the responsible one who stuck around until the end. She’s implied to have organized this morbid reunion, taking on the thankless parental role. Carla (Jessica Rothe) is the oldest who left home with no intention of coming back. And then there’s Drew (Max Mattern), the youngest and most sensitive of the three. He’s tall, lanky, and awkward, with curly hair and a naturally quiet voice. His gentle energy is key to the sibling dynamic. He’s a natural peacemaker. Mattern mumbles nearly every line of his dialogue. And though it works well for the character, it leaves you wishing all his lines were captioned.  

In the old house, they watch footage of a past family boat trip when they were all much younger. With both their mother and father gone, all they have is each other and their memories. The next morning they go out on the water with their father’s remains, a six-pack of cheap beer, and a palpable sense of simmering tension. Lucy’s eulogy is the most traditional, speaking fondly of her departed father. Carla lets it all out, calling their father an abusive drunk and adulterer. It’s clear that she identified with their mother while Lucy preferred their father.

But then Drew evens everything out with a mumbled recollection of their father’s love for the movie “A Perfect Storm,” humorously referring to the film’s characters by their actors’ names. Then, in true genre fashion, all hell breaks loose. The boat won’t start. There’s no cell signal. The radio doesn’t work. They’re stranded in the river with no help in sight. Carla, being the most adventurous one, jumps out of the boat with the hope of swimming to shore. But the killer shows himself, and the siblings begin their fight for survival.

Giuliano’s script is funny and economical. The siblings behave according to their thin yet familiar character sketches. Carla is bold, impulsive, and reckless. Lucy is selfless and determined. And Drew is simply too gentle and kind for the movie he’s in. He spends most of the running time in a lifejacket, looking terrified. Levy and Rothe — both scream queens in their own right — are a dream team together, even when their characters are at each other’s throats. Their sibling relationship feels compelling and real. But despite the many emotional beats, Giuliano is telling a bare-bones slasher story. The killer is silent, unstoppable, and grotesque. He wears the face of one of his former victims as a mask. He has no motivation except to kill. He has no relationship to the people he’s hunting; they’re simply meat for the slaughter. When the siblings reach the shore, he continues hunting them on foot. Standing at 6-foot-8, Dane DiLiegro is imposing as the nameless, faceless killer with a long stride and steady movements. A twist later plays on themes of family and parent-child relationships. But Giuliano’s narrative intentions never outweigh the constant violence that drives the film.

Even with all the carnage and terror, “River” is a feast for the eyes. Its greatest strength is reminding viewers that horror is not simply a scare machine. Even the most basic stories benefit from color, composition, and craft. The river itself and surrounding area are the real stars here. As the film goes on, the setting takes on an almost mystical quality. Though “River” is destined to be seen at home on Shudder, this is one to catch on the big screen. In his first feature, Giuliano delivers a classic, visceral horror experience. 

Grade: B

“River” premiered at the 2026 Toronto International Film Festival. Independent Film Company and Shudder will release the film at a later date.