‘The R.I.P. Man’ VOD Review
Stars: Owen Llewelyn, Maximus Polling, Jasmine Kheen, Bruno Cryan, Mia Bowd, Callum Chapman, August Porter, Matt Weyland, Jamie Langlands, Paul Coster, Charlotte Marshall, Neil James | Written by Jamie Langlands, Rhys Thompson | Directed by Jamie Langlands
The R.I.P. Man is a micro-budget British slasher directed by Jamie Langland, who also co-writes, and it comes with a premise that’s both grim and oddly amusing: what if Uncle Fester had a dental fixation and a taste for murder? Shot in Brighton on a reported budget of £20,000, the film is well aware of its limitations – even if it can’t always work around them.
The story follows an escaped mental patient afflicted with a degenerative mouth condition that’s pushed him into violent psychosis. His signature move? Removing his victims’ teeth post-mortem, which, frankly, is a fresh twist in the slasher playbook. The narrative moves between two threads: a group of university-age characters drifting into danger, and a police investigation slowly closing in on the killer.
Interestingly, it’s the procedural side of the story that ends up being the most engaging. The detectives don’t just show up to scowl and deliver exposition – they actually investigate. Interviews, leads, and plenty of desk time make the process feel surprisingly grounded. While it doesn’t exactly quicken the pace, it lends the film a touch of realism not often found in the genre.
The killer himself is a bit of a mixed bag. The dental-horror angle taps into a pretty universal fear, and the film wisely avoids leaning too hard on gore, opting instead for a variety of unsettling (if not always terrifying) methods. Visually, though, he straddles an awkward line between slasher villain and local oddball… distinct, but not exactly nightmare fuel. His ever-present “RIP” mouthguard is memorable, though perhaps leaned on a bit too heavily as a branding tool.
To its credit, the film has ambition. The cast is impressively large for a production of this scale, locations are nicely varied, and there’s even a deeper backstory involving cults and institutionalisation. Most of that lore arrives through dialogue rather than visual storytelling, which sometimes makes it feel a little dense or overexplained.
That said, the technical limitations do make themselves known. Some dialogue is uneven or clearly dubbed in post, and a few performances feel a bit hesitant. There are also moments where the pacing drags: long silences and lingering shots that don’t always serve a clear purpose. Still, given the tight budget, it’s understandable, and the effort is clear in every frame.
In the end, The R.I.P. Man is a solid example of low-budget horror done with sincerity and a bit of flair. It may not break new ground, but it brings enough originality and offbeat charm to make it worth a look – especially for fans of indie horror who appreciate a film that swings for the fences, even if it doesn’t always connect.
**½ 2.5/5
The R.I.P. Man is on digital now from Reel2Reel Films.
