Faces of Death Review: Viral Horror Reimagining Struggles to Balance Commentary and Chaos

A content moderator’s past collides with a killer exploiting the darkest corners of the attention economy.

Faces of Death Review: A Modern Reimagining Caught Between Commentary and Chaos

There was a time when the local video store felt like the internet before the internet.

If you grew up digging through dusty shelves in a mom-and-pop shop, you already know—there were certain tapes you weren’t supposed to see. Films passed around through word of mouth, built on rumor and shock value. And sitting near the top of that mountain was Faces of Death—a film that blurred the line between real and staged so effectively that it became legend.

Now, IFC and Shudder, alongside filmmaker Daniel Goldhaber, attempt to rework that legacy for a generation raised not on VHS whispers, but on viral content and algorithm-driven attention.

What we get is less a remake—and more a reinterpretation filtered through the lens of the modern internet.

At the center is Margot (Barbie Ferreira), a young woman trying to detach herself from an online presence that once defined her. Her world collides with a digital ecosystem rooted in content moderation, where the worst of humanity is filtered, flagged, and, more importantly, consumed.

That’s where Faces of Death finds its most relevant footing.

The film leans into what can best be described as “attention economy horror”—a space where violence, identity, and visibility intersect in ways that feel uncomfortably familiar. There’s a clear attempt to ground the story in something real, especially through the lens of moderation culture, a system that has become increasingly normalized but rarely explored with this level of directness.

As someone who understands that space, there’s authenticity here.

But there’s also fatigue.

This is no longer uncharted territory. With multiple recent horror films exploring similar themes, Faces of Death struggles to feel as sharp or as urgent as it wants to be. What initially feels like a strong, contemporary angle gradually loses impact as the film moves forward.

Where the film does find energy is in its performances.

Dacre Montgomery brings a controlled, unsettling presence to the film’s central antagonist—channeling something close to an American Psycho-style detachment that works when the script gives him room. Barbie Ferreira, meanwhile, carries the emotional weight of the film with a grounded, committed performance that reinforces her presence as a legitimate lead in the genre.

The supporting cast—including Aaron Holliday, Josie Totah, Charlie XCX, and Jermaine Fowler—each play their roles effectively, even if the film doesn’t always give them enough space to fully develop.

And that’s part of the issue.

For a film built on ideas, Faces of Death doesn’t always go far enough with them.

There’s a strong foundation here—especially in how the film justifies its own existence. It understands the skepticism surrounding a project like this and attempts to address it head-on, almost as if it’s speaking directly to longtime fans of the original.

That self-awareness works.

But it doesn’t fully carry the second half.

As the film progresses, some of its more compelling elements begin to flatten out. What starts as sharp commentary and layered tension transitions into something more repetitive, with certain choices—particularly around character dynamics and thematic execution—feeling less refined than they should.

There are also moments where the film attempts to balance inclusion and character identity in ways that don’t always land cleanly. Not because the intent is off, but because the execution lacks cohesion. When those elements don’t fully connect to the narrative, they risk pulling the viewer out of the experience rather than grounding it.

Still, this isn’t a failure.

It’s a polarizing film.

There’s enough here for audiences to engage with—especially those plugged into internet culture and modern horror trends. And for others, it may feel like another entry in a growing wave of similar stories that haven’t quite figured out how to separate themselves yet.

The biggest question surrounding Faces of Death isn’t whether it works.

It’s whether it was necessary.

That answer will depend entirely on the viewer.

What’s clear is that this version is built for now—for a generation shaped by viral moments, curated identities, and the constant pressure to be seen. And in that sense, it does succeed in updating the core idea behind the original.

Just not always in a way that fully sticks the landing.

Final Score: 2.5/5