Contributing writer Noémie Schwander reviews what happens when Black Samurai meets Satanic Horror, and they both notice Dark Comedy from across the bar.

By Noémie Schwander | Apr 16 2026

As a general rule of thumb, I avoid watching horror movies. Especially in theaters, especially during evening screenings, and especially by myself. I am easily scared and have a vivid imagination, meaning that if I wish to live my life without seeing possessions, serial killers and whatever Aunt Gladys from Weapons was supposed to be, I usually graciously delegate such viewings to minds stronger than mine. My knowledge of the genre relies heavily on conversations with my much more pedantic friends doing film studies, and hour-long video essays that I watch on Youtube because I have an intense fear of missing out on brand new ways to be the most annoying person in the room. This review was a last minute call so I had to watch the movie by myself, at the 9pm screening. I’m fine by the way, onto the review 

They Will Kill You is an “action-comedy-horror” movie released on March 27th (2026), directed by Kirill Sokolov and starring Zazie Beetz. It follows a young woman answering an ad to be a housekeeper in a lavish New York hotel that seems to be running through its help at a rapid pace. The movie goes on to reveal that the hotel and its richest residents have hidden  their belonging to a bloodthirsty satanic cult. As well as this, the main character Asia’s true identity is revealed as a vengeful, heavily armed ex-con looking for her sister who was last seen accepting a job in the palazzo. 

As the movie progresses and the intrigue unravels, the characters’ true intentions become more blurry, and the protagonist finds herself having to fend off hordes of immortal cultists as she gets deeper into the wolf’s den, aided by sporadic allies and a seemingly unbreakable plot armor. 

Let’s firstly address the style of the movie, which, as a horror avoider, I was most apprehensive of. I was absolutely blown away by the cinematography, action scenes and the few references to the horror genre I was able to grasp. The action scenes were incredibly original and stylistic, borrowing heavily from samurai movies and shonen anime. The film incorporated practical and special effects, along with modern action tropes and sequences, which created very visually stimulating tableaux. The filming itself relied mostly on tracking and handheld shots (often mimicking a “one-shot” style), which when combined with the claustrophobia-inducing sets and the intentionally invasive sound design, resulted in an uncomfortable but truly visceral immersion into the movie’s atmosphere and stakes. 

The film leans heavily on homages to the genre’s greatest hits, including a shower scene at the top of the movie reminiscent of Psycho, and an unavoidable Shining-esque ambiance during a hallway scene or two. The film also made use of some more subtle references, such as the semi-practical effects of severed heads (reminiscent of 80’s cult classic slashers), alongside gore and overall bloodied heroine, giving this movie a well-earned spot among the rest of its horror pals. 

In terms of performances, Zazie Beetz simply outshines all of her scene partners. It’s an impressive feat, especially considering this movie is the first lead role for the 34 year old, but the highly physical, emotional and comedic range she brings to the movie are absolute cornerstones of its success in my opinion. 

It is a shame to see it somewhat undermined by the rather disappointing acting, performance, and plot points for every other character in the movie. The supporting cast feels superficial, and while this reinforces the depth of the main character, there is no lasting impression of anyone other than Asia. The dialogue and delivery was dangerously flirting with the “corny” side of action, horror and/or comedy movies throughout, which cheapened some otherwise really impactful moments. 

As for the message of the movie, themes of sisterhood and family were (too) briefly raised, however, the main theme seems to be that of class struggles, especially with the opening quote from Benvenuto Cellini, “When the poor give to the rich, the Devil laughs”. Moreover, the film considers how true corruption lies in the relinquishing of one’s identity and values in order to climb the social ladder. There is an interesting and relevant racial angle explored, as the main antagonists are all rich white people, while most of the working class and victims of the cult are depicted as immigrants, people of color and struggling folk. They are exploited but also become perpetrators of the same violence and sacrifices, as joining the bad guys means a better way of life and an alternative to death. Teamwork and exploitation of the corrupted system are the only way out of the evil palazzo for the protagonist(s). 

Overall, this movie has great potential to become a cult classic among its genre, and is an enthusiastic welcome into mainstream stardom for Zazie Beetz. It could even be said that They Will Kill You’s masterful blend of action, comedy, and horror made for such an enjoyable watch. Some people watching a late night screening even walked home alone without picturing every passerby as a satanic cultist waiting to be beheaded with a katana.