Slaxx REVIEW – A Snug Gore Fest

Ever found yourself wishing for a killer pair of jeans? Slaxx will make you rethink that desire.


Slaxx is a blend of horror and comedy, and usually in films like this, the horror feels diluted as the comedic elements pull focus. Slaxx, however, manages to keep the balance, with moments that had me laughing before the gore threw me down a nauseous wormhole. We’re talking about killer jeans here (literally), and yet, director Elza Kephart still pulled off a variety of set pieces for the kills, depending quite a fair bit on the sound effects to pull at our imaginations. I certainly side-eyed my own pair of jeans when I was done with the film.

Kephart gives such tangibility to the jeans – it has a personality which she showcases through some hilarious moments. With a runtime of about 76 minutes, Slaxx feels tightly constructed, and doesn’t stretch its premise beyond what is necessary.

Slaxx is basically about a possessed pair of jeans that starts killing anyone that gets near it. This killing spree coincides with CCC’s new clothing launch, so all the employees are on lockdown until the following day. This essentially traps them in the space with the jeans, though the jeans do concoct quite a bit of chaos before it’s found out. It’s also Libby’s (Romane Denis) first day at work (not the best circumstances to start a new job), and her excitement at working for a diverse company like CCC turns to horror when she realises that the company’s bottom line is prioritised over the fate of the employees.

Brett Donahue does great work as Craig, the manager of this particular outlet, who has his sights set on a promotion to regional manager. This goal blinds him to everything else; he is willing to cover up any wrongdoing on CCC’s part, as well as sacrifice others in the name of his own aspirations. He functions as the antagonist of sorts, even if we do have a bloodthirsty pair of jeans in the equation. Sehar Bhojani’s Shruthi exists as a foil to him – while he cares so much about excelling at his job, she sees working at the CCC for what it is, it’s just a job for her. Thus, seeing Shruthi’s transition from nonchalance to a deep sense of care and willingness to fight against the injustices done by CCC is a satisfying one for the viewer.

More importantly, we see the conversation that Slaxx is trying to promote, with regard to retail chains and the lack of ethics governing these spaces. They claim that they hire fair trade workers and enforce the use of organic cotton, but are these phrases just thrown around so that consumers can partake without the guilt attached?

Slaxx wants us to examine our roles as consumers, and consider the source of labour that is a part of what we wear, as well as who actually benefits from the exorbitant prices we dole out every new fashion season. The conclusion of the film plays a large part in driving the message home, with Kephart wanting us to take a long hard look at ourselves – we are a part of the problem, so hardwired to devour and consume that we don’t see the trail of blood we leave behind.

There is a need for agency, and it starts with us.

Review screener provided.

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Slaxx certainly brings new meaning to the term 'killer fashion'. It also provokes necessary conversation, all while entertaining the viewer.