There is something inherently voyeuristic about Human. Before a single supernatural element enters the picture, before the blood starts flowing and before reality completely unravels, Matt Stuertz's latest horror film invites viewers into the private digital life of its protagonist. Watching Dani Ferris scroll through messages, swap photos, reconnect with an old flame, and coordinate plans with her best friend should not be as riveting as it is, yet those opening scenes prove to be some of the film's strongest. Every text message, every pause before a response, and every notification feels important. It is a surprisingly engrossing setup that establishes both character and tension while making audiences active participants in Dani's increasingly uncomfortable night.
Jackie Kelly delivers a remarkable performance as Dani, a production worker spending the night alone inside a film studio. Much of the film rests squarely on her shoulders, and she proves more than capable of carrying it. Whether she's flirting through text messages, reacting to unseen threats, or navigating the increasingly absurd horrors thrown her way, Kelly commits fully to every emotional beat. The role demands vulnerability, physicality, humor, fear, and eventually outright hysteria, and she handles each transition with impressive confidence.
What initially appears to be a grounded thriller slowly transforms into something far stranger. A persistent knocking at the door introduces an unsettling mystery that keeps viewers guessing for much of the runtime. Stuertz does an excellent job rationing information, revealing just enough to keep interest high without giving away where the story is headed. For a large portion of its running time, Human thrives on uncertainty. The film constantly feels one step ahead of the audience, creating an atmosphere where anything seems possible.
As the story progresses, however, Human takes a hard turn into the supernatural. Initially, the shift feels jarring because the grounded elements are so effective. The setup is compelling enough that there is a part of you that wants the film to remain rooted in reality. Yet the further Stuertz pushes into madness, the more entertaining the experience becomes. It is impossible to accuse Human of lacking imagination. The film embraces its weirdness with complete confidence, resulting in a fever dream of horror, comedy, gore, and surrealism that becomes increasingly difficult to predict.
Visually, the film remains impressive throughout. The cinematography and lighting are consistently strong, elevating material that could have easily become overindulgent. The editing is sharp and energetic, while Joseph Holiday's synth-heavy score recalls the atmospheric electronic soundtracks popularized by shows like Stranger Things. Even during the film's most chaotic moments, there is a clear level of craftsmanship behind the camera that keeps everything from collapsing under the weight of its own ambition.
The practical effects deserve special recognition. Horror fans looking for gore will not leave disappointed. The synopsis promises bodily fluids and absolutely delivers. Blood sprays, wounds split open, and bodily functions become recurring punchlines as the film descends deeper into insanity. Some of the effects are genuinely impressive, balancing horror and dark comedy in ways that create equal amounts of laughter and discomfort. There are moments where the film feels determined to out-gross the audience, and more often than not it succeeds.
That said, Human is not entirely successful in balancing its competing tones. There are stretches where awkward humor disrupts the tension being carefully established. Some jokes land, while others feel out of sync with the darker atmosphere surrounding them. The film's fascination with bodily functions occasionally veers into territory that feels more juvenile than clever, and not every attempt at comedy earns its place.
The biggest issue is one of momentum. At 107 minutes, Human begins to overstay its welcome. What starts as an intensely focused and mysterious nightmare eventually spirals so far into chaos that the emotional stakes become difficult to hold onto. The final act continues escalating long after the audience understands where the story is headed, and as a result some of the impact is lost. The film keeps finding new ways to become stranger, bloodier, and louder, but eventually those excesses start working against it rather than for it.
Even so, Human remains easy to recommend for horror fans looking for something different. It is ambitious, creative, frequently disturbing, and anchored by an outstanding lead performance from Jackie Kelly. While the film ultimately loses some of the focus that makes its opening stretch so compelling, it never becomes boring. Stuertz swings for the fences with every creative decision, and even when those swings miss, they are far more interesting than the safe alternatives.
Human may go too far off the rails by the time it reaches its conclusion, but the ride getting there is often thrilling, bizarre, and completely unforgettable.
Jessie Hobson