Heart Eyes Movie Review (Spoiler Free)

A rom-com/slasher mash-up. This blend of subgenres knows exactly what it is, without overstepping its welcome. Can it pierce hearts, though?

Genre: Comedy / Horror / Romance 

Director: Josh Ruben

Cast: Olivia Holt, Mason Gooding, Jordana Brewster, Gigi Zumbado, Devon Sawa, Yoson An, Ben Black, Bronwyn Bradley, Chris Parker & Michaela Watkins.

Run Time: 97 min.

US Release: 07 February 2025

UK Release: 14 February 2025

German Release: N/A

Another “love” themed analysis in my string of follow-up reviews of pictures I watched early this year. Josh Ruben’s directed genre blender was better than it had any right to be, by never taking itself too seriously, mocking clichès other flicks of this calibre utilise on the regular. That said, it can also be frustratingly annoying at times. If you are into horror, as well as romance, this will make for an enjoyable Valentine's Day watch, with your special other half. So let's pierce through the heart of my review for Heart Eyes.

When a serial killer wreaks havoc on Valentine’s Day by stalking and murdering romantic couples, an uneven pair needs to fight for their lives as the maniac chooses them as its next victims. Be aware! No couple is safe.

The screenplay has been written by Phillip Murphy, Christopher Landon, plus Michael Kennedy, who took a lot of inspiration from 90s slashers, especially Scream, as well as typical tropes of rom-coms established in the early noughties. It merges these two categories seamlessly together, maintaining a “tongue-in-cheek” humour, without ever losing sight of what it pretends to be.

The opening sequence was influenced by an engagement trend that started appearing in the mid-2000s, where a pair hires a photographer, or friend, to follow them around for the day, before “popping the question”. From there, the script developed that idea further, expanding it to Valentine's Day, as lovers nowadays get caught up in the whole world of Instagram, forgetting who they are trying to make happy. It subliminally includes a complete commentary on social media, true happiness, just like the new need for outside approval.

It also doesn’t shy away from using all the kitsch, given the fact that at its core, it is a romantic comedy. This does serve the purpose in creating an emotional bond between the two leads, yet it delves a little too much into gooeyness at times, becoming exactly that, what it tries to mock. Then there is the fact that some threads are a little too predictable, plus the final reveal was frustratingly underwhelming. 

The dialogue is dripping with self-aware sarcasm, referencing love stories and killer flicks. While most of the jokes made me giggle, some did completely miss their mark. Then there is, sadly, the fact that it also uses conversations as expository dumps.

What surprised me is the chemistry between the two leads. They are believable enough for the audience to buy that they are slowly falling in love with each other, as they are trying to survive the night. Both are also extremely likeable, which helps build a good enough connection for viewers to root for them. 

Olivia Holt does give a compelling portrayal as Ally McCabe, a pitch designer who at first is so reluctant to love, but the further the story progresses, the more audiences come to understand why. Holt adds depth to her role by setting a layer of complicated characteristics.

Mason Gooding is enjoyable as Jay Simmonds, having a strong screen presence. Jay is a consulting advertiser who is tasked to work together with Ally. 

Jordana Brewster plays detective Jeanine Shaw, with Devon Sawa portraying her partner, Det. Zeke Hobbs. The names are supposed to be winks at two big-name action characters from the Fast & Furious series, though the jokes referencing them weren’t as funny. Both actors are underutilised, especially Sawa, who gets barely any screentime. 

The killer feels threatening, giving Ghostface or Chucky a run for their money. The movement, silence and calmness are haunting, The design is iconically unique. That said, I wasn’t a big fan of the reveal at the end. It was very anticlimactic.

Technically, Heart Eyes is effective, visually blending both subgenres, creating a unique tone through the utilisation of anamorphic lenses, juxtaposing colours, plus different styles of lighting. The editing maintains the momentum it's going for, until reaching its final act, where it loses some of its footing. Shadows, as well as darkness, are effectively set up to convey a threatening tone. 

The effects look, for the majority, practical. There is some clear application of CGI blood splatter, or computer-generated tissue damage. Prosthetics look realistically gory, while the use of back-alley wetdowns or smoke doubles down on the sense of unease. The creation of the killer's iconic mask was inspired by the heart-eye Emoji. 

The score is composed by Jade Wadley, creating suspenseful tension. Pop songs are used to balance out the horror.

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Verdict: Ruben’s newly directed film is primarily a romantic comedy, with slasher elements sprinkled throughout the narrative. The “meetcute” scenario between the two main protagonists works well to establish an emotional connection with them, as they accidentally capture the killer's crosshairs. However, it does lose itself a little in what it tries to poke fun at, and the dialogues can be a little too exposition-heavy. Nonetheless, the sarcastic commentary is effective, with a lot of the jokes being funny. Olivia Holt gives a surprisingly layered rendition as Ally, while Jason Gooding nails it with pure screen presence. The camera highlights the mixing of categories, employing different lighting, just like a broad choice of warm and cold colours. The effects look believable, especially when practical. In the end, I need to confess that I had a fun time with Heart Eyes, deserving a 6.5 out of 10. 

Have you seen this romantic slasher? If not, give it a try & let me know what you thought in the comment section. Thank you very much for reading! If you enjoy the content, don’t forget to leave a like & subscribe.