One of my favorite subgenres is “holiday horror.” I make it a tradition to watch one or two holiday-themed horror movies each holiday. So, you can imagine my excitement when I discovered a new Valentine’s Day slasher was coming to theaters. While I love rewatching classics like Valentine (2001) and My Bloody Valentine (1981 and 2009), adding a new film to my lineup made my heart race! But the question remains: Does Heart Eyes have the re-watchability necessary for future Valentine’s Days?
I’ve been a fan of director Josh Ruben since Scare Me (2020), where he showcased his talents both in directing and acting. He also directed Werewolves Within (2021), an underrated treasure for fans of werewolves. Both films fall under the horror-comedy genre and do a great job with their humor. While the style might be a bit dry and dark for some, it is clever and entertaining. When I heard Ruben was directing Heart Eyes, I was ecstatic. A slasher is new territory for him, but with the crew of people he had to work on the script, it all seemed like a recipe for success.
The screenplay was crafted by Phillip Murphy, Christopher Landon and Michael Kennedy. I’m a big fan of Landon, specifically. He has an impressive portfolio that includes working on screenplays for Disturbia, multiple Paranormal Activity installments, Happy Death Day and Freaky, to name a few. Kennedy worked alongside Landon on Freaky and penned the screenplay for It’s a Wonderful Knife (2023), a Christmas horror movie.
Heart Eyes wastes no time gripping the audience with a graphic and intense cold open that sets the tone for the chaos. The opening occurs at a winery, a setting that resonated with me, due to my experience working at a wine shop. I’ve always envisioned a thrilling kill sequence in such an ambiance, and I was thrilled to see it brought to life in this film — it lived up to my expectations!
The plot centers around Ally, a young marketing executive (portrayed by Olivia Holt), navigating the aftermath of a recent breakup. As she focuses on her career, she faces added pressure from her latest pitch for a jewelry advertisement showcasing doomed lovers, which her boss finds concerning, especially in light of the recent murder linked to the notorious “Heart Eyes Killer,” or “HEK.” This tense backdrop adds to Ally’s worries about her job and personal life.
Ally finds herself in an interesting situation when her boss assigns her to work with the young, charismatic designer, Jay Simmons (Mason Gooding). Earlier that day, she had embarrassed herself in front of him at a coffee shop, which only added to her anxiety as they prepared for a dinner meeting to brainstorm ideas for a new jewelry pitch. As the conversation grows intense, Jay abruptly decides to leave. However, in a moment of impulsiveness, Ally followed him outside and kissed him when she spotted her ex-boyfriend approaching the restaurant. Unbeknownst to them, Heart Eyes was lurking in the shadows, having found their new couple to stalk.
The movie’s comedic elements are practical, featuring well-timed edits that made me giggle. I expected nothing less from Ruben and Landon. While some moments are cheesy, they beautifully complement the film’s romantic-comedic tone, delivering a delightful sense of camp that I often enjoy in horror films. Although I watched it alone in the theater, I could see how entertaining it would be with a lively crowd.
One of the standout elements of a successful slasher is the killer’s look and mask. The light-up heart-shaped eyes are visually striking, setting the look apart from typical slashers. Additionally, using cupid-style arrows as a weapon adds a creative twist to the character, enhancing the overall uniqueness of the film. I hope they sell this mask, because it would make for a great collector’s item!
The movie primarily functions as a romantic comedy with slasher elements, rather than a traditional slasher film. Viewers expecting a full-blown horror experience may find themselves disappointed. The film alternates between rom-com and slasher scenes, which can initially feel disorienting, but by the halfway mark, I found myself adjusting to the tonal shifts. The blend is adequate, though I did desire more slasher content. I will commend them for doing what I would have thought unthinkable: to combine these two genres that couldn’t be more different!
I saw someone describe it as “Hallmark horror,” which I find brilliant and correct. The tropes for a rom-com are there: a down-on-her-luck woman who isn’t sure she believes in love meets a charismatic man who wants to make her feel love again. There are several cute moments between the two that are so cheesy, it’s divinely reminiscent of a Hallmark movie. For example, they both order the same complex coffee drink, and that is how they initially talk, because she went to grab her drink, and he thought it was his. One of them drops something and bumps heads, trying to pick it up at the same time. It’s all very cutesy and warm.
However, the one thing that didn’t work for me was the chemistry between the two. I didn’t buy into it. After listening to an interview with the director, I’m not overly surprised that Holt and Gooding didn’t meet until after they were cast, so there wasn’t any chemistry evaluation. Either way, it made it hard for me to root for this couple; we want couples in rom-coms to realize they’re hopelessly in love by the end, and it just didn’t happen for me (or them, if you’re asking me).
While there are several inventive kills, side characters are never fleshed out enough for the audience to care about their deaths. One significant trope in a slasher film that shouldn’t be missed is a group of friends who are outrunning the killer. And why is that important? Because that gives you a possible lineup of suspects. So, as much as I enjoyed the slasher aspects, I was a tad underwhelmed.
The big villain reveal is ultimately disappointing. Only Ally and Jay are well-developed characters, so I lacked excitement or clarity about the killer’s identity. Instead of feeling surprised, I was left confused and somewhat let down, as the twist seemed to come out of nowhere, giving off the impression of a cop-out rather than a well-crafted conclusion.
Despite its various flaws, the film possesses an undeniable charm and a thrilling sense of chaotic fun that compels me to plan a rewatch next Valentine’s Day. While it remains to be seen whether it can truly stand the test of re-watchability, I intend to fully embrace the blend of romance and bloodshed it offers until the novelty inevitably wears off. The interplay between heartfelt moments and the audaciously gory scenes adds a unique twist that captivates me, making the anticipation for a second viewing all the more exciting.
I would rate Hearts Eyes a solid three out of five stars. This film marks a significant milestone in Ruben and his team’s career, representing their most ambitious project. Witnessing its strong box office performance is gratifying, reflecting audience interest and critical attention. I’m genuinely excited to see how Ruben evolves as a filmmaker in his future endeavors and what innovative concepts he will explore next.
Lastly, even though he doesn’t have a huge role, my millennial heart is so happy to see Devon Sawa popping up in current horror movies. More Sawa, please!