Film
See No Evil 2
A slasher set in a morgue where a birthday party goes spectacularly wrong when a one-eyed serial killer wakes up on the slab. It's fast, nasty, and committed to the bit—a straightforward kill-and-chase film that doesn't waste your time on psychology or backstory. For people who want their horror visceral and uncomplicated.
If you liked this
The Funhouse1981
Tobe Hooper's enclosed-space slasher has the same propulsive dread: kids trapped somewhere with a killer, minimal escape routes, and genuine invention in the kills. It's cruder but meaner.
But Pacing drags in the middle and the creature design is dated enough to undercut tension if you're not in a forgiving mood.

Sorority Row2009
A party setting where a prank goes lethal, and the kills keep coming faster than they can run. It's got the same energy: young cast, high body count, no time for character development.
But The tone wobbles between camp and earnest, and that tonal mess is either fun or annoying depending on your appetite for it.

ChromeSkull: Laid to Rest 22011
A masked killer stalking a single girl through locations that trap her as efficiently as the morgue does a group. Lean, relentless, and the practical gore work is genuinely committed.
But Shot on a budget and it shows—the digital photography is flat and cold in ways that hurt more than help the atmosphere.

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The Final Destination2009
Both trap a group at a party and let a killer (or killers with motive) work through them methodically. But where See No Evil 2 is amoral spectacle, The Final asks you to think about why you're watching someone suffer.
Bullied kids capture their tormentors at a party and turn hunter-and-hunted inside a house. It has the same kill-fest structure but inverts the power dynamic—the real violence on screen is about making a point, which makes it far more disturbing than any masked killer.
But The film is bleak in ways that don't let you off easy; it's torture-adjacent and the moral discomfort is the entire point, not a side effect.

More like this (8)
The Slumber Party Massacre1982
Teenagers in a contained space with a knife-wielding killer who just keeps working. It moves, it understands the contract it's made with you, and the kills matter.
But Low budget shows in every frame, and the dialogue can feel like placeholder text waiting for better writing.

My Bloody Valentine1981
A killer in a miner's outfit working through a small town with industrial-strength tools. Propulsive, funny without trying, and the death scenes are genuinely inventive.
But Pacing stalls badly in the third act and you'll feel the padding.

Friday the 13th Part VII - The New Blood1988
Jason in a confined setting (a house) with victims who can't easily escape. It leans into the absurdity without winking at it, and that commitment is its own kind of fun.
But The franchise was already tired here, and it shows—the kills are repetitive and the survivors aren't memorable.

The Burning1981
A summer-camp slasher with a real sense of dread and practical effects that still hold up. The kids are likable enough that you care when the body count rises.
But Sluggish opening takes forever to get to the killing, and that's what you came for.

Happy Birthday to Me1981
A birthday party where guests start dying in increasingly creative ways. Stylish in that particular '80s way, and the twist actually lands if you haven't seen it coming.
But The film stops to explain its plot in detail late on, killing all momentum in the worst possible place.

Prom Night1980
A killer working through a confined space (a school during prom) with excellent disco energy and practical kills. It understands exactly what you want and delivers it.
But Canadian TV-movie budget means the cinematography is flat and the pacing occasionally meanders into nowhere.

Maniac2012
Both are straightforward killer-on-a-rampage films, but Maniac weaponizes form itself—the medium becomes the message in ways that See No Evil 2 doesn't attempt. Same bloodshed, opposite purpose.
A serial killer film shot from the killer's POV for the entire runtime. First-person horror that puts you in his head in ways that should feel exploitative but somehow generates real psychological dread instead.
But The experiment is more interesting than the execution; it's sustained gore without much story, and the perspective trick gets old before the film does.

Come True2020
Both are 90-minute contained-space horrors, but where See No Evil 2 is visceral and immediate, Come True is entirely about what you can't quite see. Same runtime, opposite register—gore versus dread.
A horror film that looks like nothing else: shot on thermal imaging and surveillance equipment, dreamy and digitally degraded. It's about a girl in a sleep study where something is wrong, and the visual abstraction makes the threat scarier than any practical effect.
But The plot is thin and the pacing is glacial; it's an atmosphere film, which means if the mood doesn't grab you immediately, you're stuck watching digital nothing for ninety minutes.

People
Cast

Glenn JacobsJacob Goodnight
Kaj-Erik EriksenSeth
Katharine IsabelleTamara
Chelan SimmonsKayla
Lee MajdoubCarter
Greyston HoltWill
Michael EklundHolden
Reese AlexanderEMT #1
Kelly-Ruth MercierEMT #2
Christina Vidal MitchellChristine (archive footage)
Samantha NobleKira (archive footage)
Directing
- Jen SoskaDirector
- Sylvia SoskaDirector
- Michael CrainFirst Assistant Director
- Linda CrainSecond Assistant Director
- Andrew NiiranenThird Assistant Director
Writing
- Bobby Lee DarbyWriter
- Nathan BrookesWriter
Production
- Tiffany MakCasting
- Michael J. LuisiProducer
- Donald MunroProduction Manager