Victorian Psycho Review
· food
The Thin Line Between Horror and Farce: What Happens When Fear Meets Farcical Performance?
Zachary Wigon’s Victorian Psycho is a prime example of the perils of attempting to balance horror and comedy. Adapted from Virginia Feito’s novel, the film struggles to commit to either genre, resulting in a mismatched hybrid that never quite achieves its intended effect.
The atmospheric visuals and strong design elements are evident throughout the film, but they’re not enough to save it from its inherent contradictions. Maika Monroe’s performance as Winifried Notty, the unhinged governess with a penchant for terrorizing her charges, is undeniably energetic, but it raises questions about Feito’s adaptation and Wigon’s direction.
Monroe’s character is driven by twitchy facial tics and demented distraction from the start. However, the film never allows her anywhere to go with this portrayal, dialing up the madness to maximum levels without providing any sense of restraint or consequence. This lack of control is evident throughout the film, which veers wildly between moments of genuine unease and cringe-worthy farce.
The cast, including Jason Isaacs and Ruth Wilson, deliver memorable performances, but even their best efforts can’t save the film from its inherent contradictions. Ariel Marx’s stormy orchestral score pushes all the right buttons, but it can’t compensate for the fact that Victorian Psycho never feels remotely frightening.
The coda, which wraps up the story like an Olde English legend, only serves to emphasize the film’s failure to commit to either horror or comedy. It’s possible that Feito’s novel explores some fascinating themes about sanity and evil, but these ideas get lost in translation on screen.
Victorian Psycho is a misfire that serves as a cautionary tale about the dangers of genre-bending when not done with care. The film’s failure raises questions about our current obsession with horror-comedy hybrids: are they simply a case of trying to have your cake and eat it too, or do they reflect deeper societal anxieties and fears? Whatever the reason, Victorian Psycho is a reminder that balance and restraint are essential in any genre-bending endeavor.
Reader Views
- CDChef Dani T. · line cook
The problem with Victorian Psycho isn't just its tonal whiplash – it's that Wigon and Feito are trying to make a point about the blurred lines between madness and monstrosity without actually putting in the work to make those monsters feel threatening. The result is a film that's more interested in spectacle than substance, relying on Monroe's manic energy and Marx's pulpy score to paper over its narrative shortcomings. What if Wigon had instead leaned into the absurdity of his characters' situations, embracing the farce for what it is rather than trying to prop up a weak horror framework? That would've been something worth watching.
- TKThe Kitchen Desk · editorial
Victorian Psycho's greatest failure is its inability to find a consistent tone. While it's easy to criticize Wigon for not committing to either horror or comedy, one can't help but wonder if that was actually Feito's intention. After all, the novel explores the blurred lines between sanity and madness - perhaps what we're seeing on screen is an accurate representation of its narrative fragmentation. If so, then Victorian Psycho becomes a clever meta-commentary on genre itself, rather than a straightforward misfire.
- PMPat M. · home cook
One thing this review doesn't touch on is the influence of social media on our horror genre expectations. We're living in a time where jump scares and over-the-top gore are amplified online, making it even harder for films like Victorian Psycho to find their footing. Perhaps the film's biggest misstep was trying to cater to both older audiences who appreciate subtle terror and younger viewers accustomed to a more frenetic pace.