Borrowing from some of the best character study horror films from the 60's and 70's, The Stylist seamlessly updates these tropes for the new age with lots of style and higher production values than expected for such a low budget film.
A lonely hairstylist takes to drugging some of her clients, scalping them, and storing said scalps in a creepy shrine underneath her house where she can put them on and pretend to be different people. She tries to shape up and stop doing this when a bride-to-be client books her for her wedding and the stylist believes this might be a true friendship in the making.
For most of its runtime, The Stylist plays like a modern mashup of Maniac, Repulsion, and May and it's anchored by a lovely performance by Najarra Townsend, who wisely underplays her character's mania. Most actresses would swing from the rafters and chew the scenery with a character like this, but she keeps her very grounded and true to life.
Townsend's performance helps fill in a lot of the script's flaws, because, as much as The Stylist seems to want us to relate for its lead character, it doesn't do an awful lot to endear her to us. We never figure out what made her start killing and collecting scalps and we never find out why she's so fixated on this particular bride-to-be. This does weaken the film and throw things off balance, because Townsend is playing the character as if she's in a nuanced character drama, but the film gives her even less development and motivation than some of the Friday the 13th sequels gave Jason.
At least The Stylist knows how to end a movie as it offers up one of the most memorable final horror film images of the past decade and the film itself is beautifully directed by Jill Gevargizian who has an excellent eye.
A lonely hairstylist takes to drugging some of her clients, scalping them, and storing said scalps in a creepy shrine underneath her house where she can put them on and pretend to be different people. She tries to shape up and stop doing this when a bride-to-be client books her for her wedding and the stylist believes this might be a true friendship in the making.
For most of its runtime, The Stylist plays like a modern mashup of Maniac, Repulsion, and May and it's anchored by a lovely performance by Najarra Townsend, who wisely underplays her character's mania. Most actresses would swing from the rafters and chew the scenery with a character like this, but she keeps her very grounded and true to life.
Townsend's performance helps fill in a lot of the script's flaws, because, as much as The Stylist seems to want us to relate for its lead character, it doesn't do an awful lot to endear her to us. We never figure out what made her start killing and collecting scalps and we never find out why she's so fixated on this particular bride-to-be. This does weaken the film and throw things off balance, because Townsend is playing the character as if she's in a nuanced character drama, but the film gives her even less development and motivation than some of the Friday the 13th sequels gave Jason.
At least The Stylist knows how to end a movie as it offers up one of the most memorable final horror film images of the past decade and the film itself is beautifully directed by Jill Gevargizian who has an excellent eye.