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[Review] ‘Party Hard 2’ Suffers For its Randomized Acts of Violence

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party hard 2 review

Is this a hit, man? Or is it a party pooper? Find out more in our Party Hard 2 review.

I feel like Party Hard 2‘s reach exceeded its grasp. At its best, this is a sort of clever puzzle game, except the “puzzle” is getting away with mass murder and all the pieces are screaming. At its worst, it’s random for the sake of randomness, both in its gameplay and its sense of humor, and it isn’t much fun.

Party Hard 2 is inexpensive, though, and like most of what tinyBuild publishes, it’s weird as all hell in a way that I have to respect. It’s a love-it-or-hate-it sort of game. Either you can forgive it for its jankiness—after all, it’s not like there are a lot of games that let you feed an entire biker gang into a wood chipper—or you’ll end up frustrated.

The Party Hard Killer has calmed down a little bit for the new game. Instead of just being a mass murderer, he’s now more like a vigilante that doesn’t care about collateral damage. He’s on the trail of the participants in a pharmaceutical conspiracy, who have all done him the serious favor of holing up in a series of well-attended parties throughout the continental United States, because the only thing worse than not killing them all would be if he was forced to do so while not remaining firmly on brand.

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A typical stage in Party Hard 2, like the first one, is a sort of logic puzzle. You start off on the outskirts of a big map filled with people, secrets, improvised traps, murder weapons, and shortcuts. You can clear the stage either by killing everyone inside it, in whatever way you can manage to do so, or by accomplishing a slightly less straightforward set of bonus objectives. This usually involves collecting some information while selectively assassinating a few specific targets, although you are in no way penalized for any random bystanders that get chopped to bits along the way.

The trick to it is that most of the people in any given stage will freak out and call the cops if they see a fresh corpse or an act of violence, and the cops in Party Hard 2 are low-rent T-800s. You can sometimes drop one with a stun gun or a well-timed trap, but they always show up in groups of two, stick around for a long time, and sometimes know exactly where they need to be in order to most efficiently cancel your Christmas.

The best option you’ve got is to avoid having them show up at all, which means you have to be very careful about who you kill and when. You need to create distractions, take people out with convenient “accidents” that won’t leave bodies behind, stow corpses in whatever hiding places you can find, and pick off lone victims on the outskirts of the map for as long as you can. It feels a lot like a playable version of the first two reels of a slasher movie, when the killer’s roaming around making the first few teenagers disappear, and there’s a unique satisfaction in doing it well.

What makes things irritating is that Party Hard 2 has a lot of randomization. Your objectives remain the same, and a few items on each stage seem to be permanently placed, but other than that, most things are in flux. A room that was a totally safe place to stow a few fresh bodies might turn into Mardi Gras on your next attempt; a storage locker that gave you exactly the right weapon on one run may be empty, useless, or entirely absent on the other.

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The partygoers have no fixed locations and no set routines. In fact, they commonly decide to start fights among one another, go to sleep in empty rooms, get dangerously drunk, or occasionally jump headlong into deathtraps. I got a five-kill combo on one stage without knowing why at one point, and it turned out someone had called an ambulance, which had plowed over a crowd in the street outside.

I’m making it sound kind of fun, which it can be. It’s just that there aren’t many reliable strategies in Party Hard 2. There are a couple of useful go-to tactics that might work, depending on the stage, but you have no guarantee of success. Unlike, say, any given Hitman game, you can’t memorize patterns and blaze through a given map using a single predetermined path. At best, your first few steps are usually pretty consistently effective, but after that, you’re forced to improvise. There’s no real way to get a clean, ideal run through any map, because something is guaranteed to go wrong.

On the other, it doesn’t really force you to change things up. All it can really do is hinder you, or slow things down. The idea seems to have been that it would result in dynamic gameplay since you couldn’t count on anything but the most basic elements of a particular strategy being in place, but instead, it’s just a variable, unpredictable difficulty shift. It can be funny—like when important NPCs get destroyed on arrival by random drunken bystanders—but it isn’t particularly satisfying.

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I’ve got a laundry list of other minor complaints, like how dumb the “boss fights” are, but the randomness is my biggest issue. It turns what could be an interesting, thoughtful sort of puzzle game into a series of pulls on a slot machine. That’s not necessarily entirely bad, and you can get some fun out of it regardless, but it’s a mixed bag.

 

Party Hard 2 review code provided by the publisher for PC.

Party Hard 2 is out now on Steam PC

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‘Leviticus’ Review – Desire is Deadly in Affecting Cursed Horror Movie

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Leviticus review
Joe Bird appears in Leviticus by Adrian Chiarella. Photo by Ben Saunders.

The Old Testament’s Book of Leviticus has a lot to say about sin and uncleanliness, as well as ritual purity and atonement. The priests within the book, itself a moral metaphor, were frequently corrupt and evil. It’s the perfect title for writer-director Adrian Chiarella‘s powerful feature debut, a searing anthem against the corrosive nature of fear and bigotry.

Talk to Me‘s Joe Bird stars as Naim, a new kid in a small Australian suburb who’s introduced as he’s hanging out with new friend Ryan (Stacy Clausen). Playful ribbing quickly leads to romance between the pair, though one that can only carry on in secret. The town’s prominent religious community, of which Naim’s mom (Mia Wasikowska) is a devout member, doesn’t approve of homosexuality.

When the lovers are outed, they’re subjected to a strange conversion-therapy ritual by a mysterious outsider that marks them as targets for an unrelenting, malevolent entity that takes the form of whoever the afflicted desires most.

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If that sounds like It Follows, well, it sort of is. Chiarella refines the horror mechanics and metaphor with much sharper precision, ensuring that the scares and emotional gravity of Naim and Ryan’s terrifying predicament reach their intended impact. Here, the lust-induced curse gets very personal, with the entity offering tantalizing temptation in doppelgänger form, hoping to lure its victim close before brutally ripping them apart.

Chiarella uses this as a launchpad to immerse audiences in the horror of constantly living in fear for simply existing. And it’s here where Leviticus rises above its influences with clear purpose. Through the curse, fleeting moments of tender romance or comfort also breed fear and tension. A discreet kiss leaves the cursed vulnerable in more ways than one; safety doesn’t exist for two young teens simply trying to understand their burgeoning emotions.

Ultimately, though, Leviticus owes much of its success to the tremendous performances by its two leads. Joe Bird and Stacy Clausen deftly navigate all the emotional complexities of coming-of-age in a repressed setting that hits too close to home for any reprieve. While the tenderness beneath Ryan’s machismo endears, it’s Naim’s bone-deep fear and melancholy that’s as heartbreaking as it is compelling.

Naim is scared of his emerging feelings, and it’s exacerbated without any avenue to explore them without violent recourse. The threats aren’t just external but internal as well, and it’s those moral and emotional complexities that transform familiar horror formula into something that feels fresh and timely.

Chiarella injects a few potent jump scares that left the Sundance audience shrieking, but does struggle to stage some of the supernatural sieges. The cold open introduces a previous victim of the curse, but only mildly intrigues with its familiar staging. That’s not to say the entity isn’t scary, though; Clausen in particular is a terrifying menace when in Ryan’s doppelgänger form.

Keeping the focus on the star-crossed lovers was the smart and correct choice, but some plot elements feel underutilized by the succinct conclusion. Wasikowska plays her character too guarded, leaving many questions regarding her background and motives unanswered, even if the film gives her a satisfying end to her arc, for example. The rules, though simple and straightforward, can also bend at whim.

Still, Leviticus is a strong debut with an incisive voice at the helm. Chiarella coaxes poignant, layered performances out of his young leads that ensure that the social horror cuts deep, even if some of the more supernatural components occasionally feel stale. We care deeply about Naim and Ryan’s survival, making Leviticus a tense, atmospheric, and claustrophobic vision of young love in a hateful world.

Leviticus made its world premiere at Sundance and releases in theaters on June 19, 2026.

Editor’s Note: This Sundance review was originally published on January 24, 2026.

3.5 out of 5

 

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