The plot synopsis of Millennial Killer is rather self-evident from the title. A real estate agent (Simon Berry), or at least he pretends to be one, lures young adults to see a listing for a lovely, very affordable apartment in a fantastic location. However, once they enter the master bedroom, the agent either stabs or chloroforms the would-be residents. After taunting his victims, he kills them.
That is all, save for Naomi (Alice Mulholland), whom the real estate agent is in love. After seeing her significant other murdered and trapped for weeks, she is losing all hope. But, when the agent takes another couple, an opportunity for escape might be just around the corner. Can Naomi keep a grasp on her sanity long enough to get out alive?
Writer-director Sam Mason-Bell’s horror film is light on originality. The drive behind the real estate agent’s desire to kill millennials is easy to suss out and proves the least interesting part of the movie. Maybe its due to the otherwise solid story structure- being divided into chapters focusing on each victim- which makes the why revealed very near the end of Millennial Killer. As such, there is no real exploration of two different generations being unable to come to an understanding. So the movie strictly plays out at the surface level, despite the idea behind it being ripe for an in-depth psychological exploration.
“…once they enter the master bedroom, the agent either stabs or chloroforms the would-be residents.”
But, what Millennial Killer excels at is pure dread and creepiness. Much like in his rather fun Lonely Hearts, Mason-Bell has a knack for crafting unnerving sequences with visual panache. The first time Naomi tries to escape, pink and blue lights pulse with life as we view her shadow slowly crawling towards, then attempting to jimmy open the door. As the music swells, the real estate agent barges in, and your heart will be racing.
Mind you, the tension remains high throughout despite the majority of the violence and kills happening offscreen. That is not to say we aren’t treated to any of them, though. Two ladies are examining the kitchen at great length. They are chattering on about this or that feature. The real estate agent tries to get them to look over the rest of the apartment, the master bedroom specifically, but the two aren’t budging. After a few minutes of this, he has had enough and slits the throat of one of them before turning and stabbing the other.
What’s so disarming about this scene, in a good way, is how funny the real estate agent is until he begins to kill them. After his first prompt to move on is ignored, he’s silently mouthing to himself in a way that is clearly mocking what he believes is their inanity. It is amusing, and then to witness him lose himself is very disturbing. Mason-Bell is able to keep that balance beautifully throughout the entire film.