“You’re Dead to Me” follows three high school seniors who skip prom for a weekend free from parents, school and responsibility, only to discover that one of their classmates has been murdered.
There’s a little bit of something for everyone in “You’re Dead to Me.” For fans of classics like “Scream” or “I Know What You Did Last Summer,” it contains nostalgic slasher elements. For Gen Z viewers, it also features satirical whodunit aspects akin to the likes of “Bodies Bodies Bodies” or “Bone Lake.” After all, it still centers on a group of friends staying together in a mansion. What could go wrong, right?
Despite sharing similarities to these movies, “You’re Dead to Me” does take a different approach. Instead of having characters live normal lives or physically witnessing murders, they remain largely contained. For virtually the entire 96-minute runtime, they stay inside the mansion. On top of this, they only hear about killings through phone calls or social media. This gives the film a more modern lens, but it also makes it less consequential. As a result, the first half of the runtime is mostly devoid of tension, consisting primarily of generic conversations between high schoolers. Once it passes the midway point, though, there is a definitive shift because the stakes finally become real.
While the overarching narrative is horror, it’s actually the dramatic undertones that hit the hardest. The film explores themes of growing up and shared trauma within a small group of friends. On top of this is the psychological thriller aspect as well, with strange visions and paranoid feelings filling the void. These end up taking the spotlight, actually making the slasher aspect feel more like a subplot.
As “You’re Dead to Me” nears its conclusion, the pieces begin to fall into place. Terry Castle and Sarah Howard’s script spends much of the runtime dissecting the characters’ personas. The slow-burn approach will likely steer some viewers away, but the quiet buildup rewards patience in the end. It eventually runs into a major problem, however: the outcome can be seen coming from a mile away.
Director of photography Gemma Doll-Grossman gives the movie a unique visual style. Maintaining a shallow depth of field, Doll-Grossman often relies on close-ups that keep the characters in focus. There is a twist on this, with the anamorphic lenses creating a sort of whirlpool effect around them. Taking place in a single location, this adds diversity to shots that could otherwise grow monotonous. It can also be distracting at times because of how abstract the distortions are.
Another bold choice by director Juan Pablo Arias Munoz is the inclusion of darkly comedic “commercial breaks.” It’s a nostalgic nod to the past that mimics watching a movie on cable TV or a VHS tape. After the credits roll, it becomes clear that this is a fun gimmick that ties into the story. In practice, however, these brief intrusions feel jarring and out of place early on.
Starring in “You’re Dead to Me” are Siena Agudong (Indy), Jessica Belkin (Brynn) and Conor Husting (Jordan). None of these performances are overly memorable, but they are completely serviceable. Agudong is the standout, playing a character who is tormented by grief while also being a kindhearted shoulder for her friends to cry on. Belkin is less put together, with a messy and argumentative personality. Husting is somewhat unimportant compared to the other two leads, but he delivers added normalcy and realism to the friend group. Also appearing is Denise Richards (Emily Sims). While brief, Richards’ appearance provides much-needed weirdness.
“You’re Dead to Me” is less slasher, more psychological thriller and drama. It’s a movie for Zoomers transitioning into adulthood, with a hint of murder within.
Rating: 3 out of 5
