Slapface Review

Synopsis: A boy deals with the loss of his mother by creating a dangerous relationship with a monster rumoured to live in the woods.

Editing: Katie Dillon

Music: Barry J. Neely

Cast: August Maturo, Mike Manning, Libe Barer, Mirabelle Lee, Bianca D’Ambrosio, Chiara D’Ambrosio, Lukas Hassel, Dan Hedaya

Director: Jeremiah Kipp

Writer: Jeremiah Kipp

Cinematography: Dominick Sivilli

When Lucas (August Maturo)’s older brother Tom (Mike Manning) explains that they “must do this” before slapping him, a shiver runs down your spine. He calls it “slapface,” a game the two have played often—a game the older brother dominates thanks to his age and strength—yet a game he insists is needed to help them work through issues. When Lucas slaps Tom back, his smaller hands barely make a mark, while Tom’s rock Lucas’ head sideways.Slapface is a film about loss, trauma and abuse. It doesn’t hide those themes, but there is also a monster here to sometimes distract you from the true villains on screen. Lucas spends his time away from school aimlessly, trying to process his pain. The loss of his parents lurks beneath the surface of his mind and, with no proper care from his brother or teachers, he finds himself in trouble. Lucas likes a girl, Moriah (Mirabelle Lee), but her friends—the twins Donna (Bianca D’Ambrosio) and Rose (Chiara D’Ambrosio)—bully him, and although Moriah likes Lucas back, she won’t stand up to them and instead joins in. After one run-in with the twins, they dare Lucas to enter an abandoned building, where he encounters a monster with which he quickly forms an unnaturally strong bond.

Slapface — Lucas explores an abandoned building

While Tom spends his nights drinking at bars, the town’s sheriff warns him about Lucas’s behaviour. Tom shows little care; he’s content to play slapface rather than discuss what’s going on in Lucas’s head. Even as Tom’s girlfriend Anna (Libe Barer) attempts to connect with Lucas—one of the only characters in the film to do so—Tom pushes her away. Later, Tom even gaslights Anna for caring about Lucas and not wanting to stand by as he ignores what’s happening, preferring another game of slapface.

Slapface — Lucas framed against a wooded backdrop

The slow build of Slapface leads to a satisfying, emotional finale that hits you right in the chest. It never really tries to hide where the true danger in Lucas’s life lies, but it does work hard to distract you from who that could be. For the movie’s final act to land so well required a strong performance from August Maturo, who does a fantastic job portraying a lost, tormented child. The film largely rests on his shoulders; his raw, empathetic performance is integral.

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Oddly, the monster in Slapface can distract from the more interesting, primary themes at play. There’s plenty left to discuss about the creature by the time the credits roll, but it isn’t particularly compelling. I didn’t love the design, and none of the kills stand out—the way they’re shot feels a bit amateurish and lacks proper shock value.

Slapface got under my skin in more than one way, and at times it’s hard to watch due to the nature of the film’s material. The themes and direction Jeremiah Kipp is pulling apart here are worth exploring—but as a monster movie, it’s a bit of a let-down.