Stephen King often takes to Twitter (or X, but nobody calls it that) to highlight or recommend movies and shows that are both topical and under-the-radar. Earlier this month, he described the Netflix chart-topping “Rebel Ridge” as “a thinking man’s RAMBO” and endorsed the brilliant, yet overlooked supernatural drama series “Evil,” which is also streaming on Netflix at the moment. King, of course, is intimately acquainted with the horror-thriller genre, and one of his latest genre recommendations is a recent release helmed by JT Mollner, revolving around a casual hookup gone horribly wrong. Yes, King took to Twitter to praise “Strange Darling” — starring Willa Fitzgerald and Kyle Gallner — while attaching the film’s official trailer to underline how intriguing the premise is:
“I got an advance screener of STRANGE DARLING, and it’s really terrific. I’ll try to attach the trailer here, because it’s also a clever masterpiece. Can’t say more; watch the film and you’ll understand what the trailer is up to.”
This enthusiastic endorsement isn’t misplaced, as “Strange Darling” utilizes a non-linear chapter format to paint a bloody picture of a serial killer’s lengthy murder spree, peppered with retro-slasher elements and shots that brim with brilliance. Interestingly, this also marks actor Giovanni Ribisi’s debut as a cinematographer, and his talent does not go to waste here, thanks to the vibrant, visceral core of a film that aims to strip down definitions of what a conventional horror thriller should look and feel like.
Strange Darling is the definition of a sleek thriller
Mollner’s film is best experienced if you go in knowing nothing about it, so we’ll simply take a look at its barebones premise. The story situates us in Hood River County, Oregon, where a woman, simply dubbed the Lady (Fitzgerald) meets a man, called the Demon (Gallner), and the two rent a room to have a one-night stand. The Lady is rightfully wary of the Demon at first, as she expresses her concerns about him being a dangerous individual — like a serial killer or someone capable of inflicting harm — but the man assures her that this is a safe space. After the two hook up, the true nature of the plot starts to unravel, where the very integrity of this casual encounter is questioned, and we are plunged into the exploits of a serial killer who has been hunting individuals for a very long time.
King is no stranger to penning horror thrillers with erotic elements, like his 1992 suspense novel “Gerald’s Game” — which got a powerful, moving Mike Flanagan adaptation treatment — wherein a woman is faced with disaster after her husband dies of a heart attack while she is handcuffed to a bed. The sheer horror of the situation is not just limited to the immediate physical danger of being chained and unable to call for help; indeed, the psychological implications are much more dire than the imminent threats of dehydration/starvation. “Gerald’s Game” is obviously very different from “Strange Darling,” which takes a more physical route when it comes to mind games and frantic chases, but the emotions evoked by both are immediate and urgent.
King has also written a short story about a serial killer, titled “The Killer,” which is one of his earliest works, wherein a man with amnesia goes on a senseless killing spree, fated to repeat the cycle due to reasons that make the ultimate twist satisfying. It is short, sweet, and effective, and if you are looking for longer works that consist of similar elements, “The Dead Zone” makes for an intriguing read.
“Strange Darling” is now playing in theaters.