Frightfest London 2025: ‘213 Bones’ Review
Stars: Colin Egglesfield, Dean Cameron, Liam Woodrum, Luna Fujimoto, Sarah Brooks, Simone Lockhart, Toni Weiss, Francesca Barker McCormick, Scott Peat, Hunter Nance | Written by Jeffrey Primm, Dominic Arcelin | Directed by Jeffrey Primm
213 Bones is a retro-styled slasher – a deliberate throwback to the golden age of late-’90s horror, evoking films like Scream and I Know What You Did Last Summer. Set in the decade itself, the story follows a group of anthropology students preparing for exams, only to find themselves hunted by a masked killer. Alongside their professor, local authorities, and a handful of side characters, the dwindling group must try to uncover the truth before they end up the next victims.
From the outset, 213 Bones makes its biggest impression not through narrative originality, but through atmosphere. The recreation of the 1990s is pitch-perfect: fashion, hairstyles, music, and even the attitudes of the characters feel as though they’ve been plucked directly from that era. At times, it’s so authentic that one could easily forget this is a modern production. Small touches, like a character who refuses to abandon her ’80s fashion sense, further ground the film in its chosen time period, adding a layer of charm to the experience.
The characters, while leaning heavily into archetypes: the stoner, the nerd, the overachiever, are likeable and easy to follow. Performances are solid across the board; while no one is asked to deliver high drama, the cast convincingly sells their roles, embodying both the period and the tone. The killer, too, embraces the ’90s aesthetic, donning grunge-inspired clothing and a creepy Easter Island–style mask that makes for a striking visual.
Narratively, the film remains a straightforward slasher. The pacing is brisk, and the kills, though competently staged, lack flair. There are moments of blood and throat-slashing, but gore hounds may find the violence underwhelming compared to more modern genre entries. Still, this restraint is in keeping with the very films it emulates, which often prioritised suspense over splatter. The mystery of who will survive is handled well, with screen time distributed evenly among the ensemble, leaving viewers guessing until the final act.
Where 213 Bones falters is in carving out its own identity. Unlike Scream with its meta-commentary, this slasher doesn’t have a defining concept beyond its nostalgia. The kills, while serviceable, feel repetitive, and the eventual reveal of the killer is predictable, with motivations that don’t add much weight. Dialogue occasionally slips into clunky exposition, and the reliance on stereotypes, though genre-appropriate, sometimes makes the film feel too safe.
Ultimately, 213 Bones is a competently made slasher that thrives on style rather than substance. Its recreation of the 1990s is exceptional, so much so that it becomes the film’s standout achievement. As a horror experience, it’s solid but unspectacular: entertaining in the moment, yet unlikely to linger in the mind for long.
***½ 3.5/5
213 Bones screened as part of this year’s London Frightfest.
