The 90s may unofficially be the new 80s. More than ever before, a flood of titles hoping to emulate my birth decade have been trying hard to replicate that nostalgic magic. Campy slasher 213 Bones is the latest in a long line of them, and thankfully, just enough fun to wholeheartedly recommend. First-time writer/director Jeffrey Primm seems to have a deep understanding for the slasher formula, vibing with group chat scenes and gory details; on the flipside, he misses the mark in a couple ways too, particularly in the realm of chase scenes and offscreen kills. Rarely does a genre filmmaker completely nail the metaphorical blade into the flesh of their first attempt, so Primm’s effort still manages to stand out as a particularly bold effort. A straightforward whodunnit slasher encased in glossy 90s packaging, 213 Bones collects the remains of a compelling slice of horror.
Set against a stormy night in sprawling suburbia, 213 Bones opens with a brutal double murder that sets the tone. A cheating couple is slaughtered in a true Halloween homage; Primm uses point of view perspective to let us see through the eyes of a masked killer whose face resembles a Moai statue. The chilling mask actually looks pretty cool for what it’s worth, though the accompanying long hair feels a little out of place. From there, the film shifts to a group of 90s-era college students—glasses-wearing nerdy blonde Brent (Hunter Nance), shy Jill ( ), earnest Lisa (Luna Fujimoto), stoner Clyde (Mason Kennerly), pop-obsessed Candace (Toni Weiss), smart and motivated Patty (Allegra Sweeney), and hot-douche Eric (Liam Woodrum) and his frustrated girlfriend, Joanna (Simone Lockhart)—drawn together by an anthropology project analyzing faux bones discovered in their lab. As real bones begin appearing in strange places and their classmates are viciously taken out one by one, suspicions swirl around the group. Could the killer be a student, or perhaps their professor, Kelly (Colin Egglesfield)? Could it really be someone hiding in plain sight?
213 Bones is a strange beast: part Scream-era teen ensemble, part wonky school drama, part cop/coroner oddity. 90s nostalgia comes in hot and heavy between beepers, denim, and Madonna posters. 90s fashion truly never goes out of style. The cast have a decent chemistry, especially Brent and Lisa, who ground the film with their naiveté, while Candace provides sharp comic relief. However, this is definitely not Scream or I Know What You Did Last Summer. Many of its leads are clearly viewed as throwaway body count fodder. In a subgenre known for kills, how disappointing that many of the apparent central characters are simply slaughtered out of the camera’s view. Without taking the time on its elaborate murders, the ones we do get to see subsequently feel a little less sharper-edged. Ripped out eyes and slit throats do seem imported from other horror movies, but they lack a unique bite. A slow-motion sequence and most of the finale teeter right on the edge of ridiculousness, along with the playful dialogue of its teen roster.
Where 213 Bones shines is when Primm and co-writer Dominic Arcelin lean fully into that campy charm. It never quite becomes the razor-sharp satire they flirts with, but as a pulpy whodunnit slasher, the copious throwback flourishes are a beauty mark, not a blemish. Managing to nail the killer reveal was a surprise. Who cares about the motive when the identity actually elicits a gasp? Even when that Moai-esque visage has been lifted, the reveal still sells the ultimately ridiculous tone hanging overhead. Rich in velvety nostalgia, 213 Bones could be a forgotten VHS gem, or maybe a lost 90s relic that takes itself just seriously enough for horny sleepovers.
213 Bones debuted at 2025’s FrightFest UK.
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