Heart Eyes (2025)

Heart Eyes arrives with a premise that reads like a marketing meeting gone feral: a masked killer stalks Seattle couples on Valentine's Day, and two coworkers stuck on overtime get mistaken for a romantic pair. The film commits to its twin genres with a straight face, and the central romance is carried by a mixed-race pairing that the screenplay never bothers to discuss. Supporting players of assorted backgrounds populate the police station, the office, and the drive-in without a single line drawing attention to the arrangement. This is representation as ambience, and the picture is sturdier for it.

The women do most of the work. Ally pitches campaigns, abandons medical school, and eventually drives the blade home. Her boss Crystal barks orders from a glass office, Detective Shaw carries a badge before revealing darker hobbies, and a desk officer named Fran gets a moment before the lights go out. A final girl with agency is not a thesis, and the film never builds one. The satire stays local and small: a jewelry company monetizing doomed love, a supervisor demanding fresh work on a holiday, a few jabs at corporate overtime that land and then evaporate. The villainous trio, a married couple plus their devoted third, is framed as kink and bloodlust, which is a separate matter from queer identity, and the film treats it that way.

Elsewhere the ledger is nearly blank. No environmental sermon, no body-positive messaging, no neurodivergent characters, no historical revisionism, no lecture. The killings arrive faster than any argument, and whatever social observations the script makes get swallowed by gore and jokes. The result is a competent slasher with a sweet streak and an unusually high body count for a date night. A sequel is already scheduled, which suggests the killer will return to hunt couples again, and the culture will presumably survive it.