Joshua Giuliano's feature directorial debut, River, opened the Toronto International Film Festival's Midnight Madness strand on September 10, 2026, with considerable expectations but ultimately delivers a formulaic stalk-and-slash narrative that neither frightens nor engages. Despite assured visual direction and committed performances from two seasoned horror actors, the film retreads familiar ground without the inventiveness or emotional specificity needed to distinguish itself in an increasingly crowded genre landscape.
The festival's Midnight Madness programme has faced inevitable comparisons to last year's record-breaking horror acquisition, which became the highest-grossing festival purchase of all time at over $513 million worldwide and generated substantial awards conversation. That film's success sparked widespread speculation about whether Toronto might emerge as a rival to Sundance for ambitious horror debuts, yet River suggests the jury remains decidedly out. Giuliano demonstrates visual promise but relies too heavily on established slasher conventions, a pattern increasingly common among writer-director debuts that attempt to do everything simultaneously.
The film centres on three adult siblings reuniting to scatter their father's ashes on the river where he spent much of his life. A younger sister and brother, portrayed by Jane Levy and Max Mattern, still inhabit the family home and are joined by their estranged older sister, played by Jessica Rothe, who harbours less sentimental memories of their deceased father. Tension emerges before they even board the boat, and through a series of contrived circumstances, the trio becomes stranded mid-river—a predicament that worsens considerably when a bloodied figure in a skin mask appears on the bank.
Giuliano opens with a surprisingly accomplished cold sequence that expands upon a concept he previously explored, presenting the gory aftermath of an abandoned vehicle while layering in diegetic sound design that suggests the violence preceding it. The technique proves remarkably effective and unusual for the genre, promising an inventive trajectory that the film fails to sustain. As the narrative unfolds, momentum drifts backward rather than forward. River need not have reinvented slasher conventions, yet even executing familiar beats demands the pacing and kinetic energy that Giuliano struggles to generate. The film rarely achieves genuine scares or propulsive tension, and despite early hints of character development—itself uncommon in slashers—the sibling dynamic lacks the specificity and spark necessary to make audiences invest in their survival.
Do the lead performances elevate the material?
Levy and Rothe operate in familiar territory, yet both bring considerable skill to underwritten roles. Levy has endured escalating horrors across multiple genre films, while Rothe distinguished herself as the standout element of a formulaic franchise, each earning contemporary scream queen credentials. They extract maximum impact from often-generic dialogue, infusing edge into scenes that might otherwise feel inert. Dedicated genre enthusiasts may appreciate their commitment during an extended climax that embraces graphic body horror—puncturing, eye-gouging and decapitation rendered in explicit detail. However, their efforts cannot compensate for the film's antagonist deficiency.
What about the killer?
Dane DiLiegro, a 6-foot-8-inch former basketball player turned actor, portrays the masked killer with an undeniably imposing physical presence, though his appearance occasionally suggests a Fire Island Halloween costume rather than a credible threat. The film wavers uncertainly regarding how much or how little the audience should understand about his motivations and backstory, settling into a frustrating middle ground that satisfies neither approach. The result feels far less skin-crawlingly unsettling than Giuliano apparently intends, with the antagonist remaining a generic slasher cipher rather than a memorable or psychologically complex threat.
The film's technical execution deserves acknowledgment. According to production reports, River runs 1 hour and 32 minutes, a lean runtime that should theoretically maintain momentum but instead highlights pacing issues. Giuliano's visual compositions occasionally hint at the artistry suggested by his opening sequence, yet these moments remain scattered rather than cohesive. The cinematography and production design competently serve the narrative without ever transcending the material's inherent limitations.
What does the ending suggest?
A mid-credits scene resurrects the sound-design device from the opening, explicitly setting up a cinematic universe that feels entirely unnecessary. This tease suggests Giuliano envisions River as the first installment in an expanded franchise, a confidence that the film's execution does not justify. The gesture feels presumptuous given the narrative's fundamental shortcomings and the audience's limited investment in its world or characters.
What happens next?
According to industry reports, River will receive additional festival screenings, including presentations on September 11 and September 18, before its wider release. The film is scheduled for theatrical distribution through Independent Film Company and Shudder, with a 2027 release window. Whether the film finds an audience among hardcore slasher devotees or develops a cult following remains to be seen, though its festival premiere suggests limited mainstream crossover potential.
Giuliano has demonstrated sufficient visual acuity to warrant future opportunities directing from stronger material. His command of composition and atmosphere suggests he could effectively execute someone else's screenplay, particularly if that script provides the narrative specificity and thematic coherence that River lacks. The film represents a competent but unremarkable debut that neither advances the slasher subgenre nor justifies the considerable talent assembled before the camera. For a festival programme that has positioned itself as a launching pad for innovative horror voices, River proves a disappointing opening statement.
Key Facts
- River opened the 2026 Toronto International Film Festival's Midnight Madness strand on September 10, marking Joshua Giuliano's feature directorial debut
- The film stars Jane Levy, Jessica Rothe, Max Mattern and Dane DiLiegro in a survival-slasher narrative centred on three siblings stranded on a river
- Runtime is 1 hour and 32 minutes, with theatrical and Shudder release scheduled for 2027
- Giuliano's visual direction shows promise but cannot overcome formulaic writing and insufficient character development
- The film's mid-credits scene sets up a cinematic universe that feels premature given the narrative's limited scope and impact
