Jane Levy makes a triumphant return to the genre in writer/director Joshua Giuliano‘s suspenseful feature, River, which pits a trio of siblings against a relentless masked killer. Levy’s ferocious commitment to the physical demands of horror’s visceral nature elevates a fairly standard, but edge-of-your-seat slasher, and she’s also joined by a winsome Jessica Rothe and a disarming Max Mattern (Desert Road).
After a cold open teasing what the trio will be up against, River introduces them properly as siblings reuniting to scatter their father’s ashes at his favorite fishing spot deep downriver. It’s clear from the outset that this family has a rather fraught relationship, with the eldest (Rothe) having long fled the nest, leaving behind her younger siblings to deal with an alcoholic.
As such, it’s the middle sis (Levy) who’s had to step up, caring for family affairs that include a traumatized younger brother (Mattern).
Giuliano’s script smartly does just enough to illustrate this family’s complicated relationships and history, without overexplaining, to set up a series of mishaps and distractions that leave them completely stranded upriver with a masked man (Dane DiLiegro), an efficient killer with incredible physical capabilities.
From here, Giuliano keeps escalating his twisted cat-and-mouse game in an intense slasher that feels like a throwback to the golden age, drawing more from Texas Chain Saw Massacre than Friday the 13th, both in its lean, meat and potatoes formula and for its gritty, almost folk horror stylistic flourishes.
River harbors a few slight twists regarding its killer, though much of it is well forecast for savvy genre fans. DiLiegro makes for a formidable foe, an intelligent predator who can outswim and frequently outsmart his prey, though the camera does occasionally dispel his intimidating quality by lingering too long on his physique. His first appearance goes far in lending terror; DiLiegro’s silent stalk is his most effective means of inducing fear.
But the true standout here in an ensemble of talent that ensures River punches above its weight is Jane Levy. For all the grueling pain and suffering Giuliano and his killer dole out upon the siblings, it’s Levy who holds River in her grip. It certainly helps that her pragmatic character establishes her as the capable sibling who will make the smart calls, but when push comes to shove, Levy unleashes a fury that threatens to turn the tables in crowd-pleasing ways.
Jane Levy earned audience cheers multiple times during the TIFF premiere for her character’s Final Girl-worthy fight for survival.
That character forward emphasis and the affecting sibling bonds carry River to a satisfying conclusion, though one that tacks on an unsettling but far too extended mid-credit scene, the film’s first and only insistence on overexplaining what a previous sequence already inferred.
River doesn’t break from convention but instead uses the slasher tropes in its favor to ramp up the tension at a brisk and steady clip. It’s lean and efficient, anchored by its tremendous cast and a unique setting that’s utilized to its fullest when generating scares. It’s also not devoid of humor; Mattern’s sensitive, shell shocked persona frequently diffuses tension where his siblings are concerned. Mostly though, it’s a potent reminder that Jane Levy should do more horror.
River made its world premiere at TIFF and is expected to be released in theaters in 2026 through IFC, followed by streaming on Shudder.
