Review published 25th April 2026

Watch the official trailer.

A Missing Father Mystery Deepens as a Search Party Turns into an Uneasy Camping Trip

Alone in the woods, Sean (Rijen Laine) wakes after fainting, unsure of what happened. Luckily, he is quickly found by his fiancée, Grace (Ana Thu Nguyen), who comes to check on him after the strange incident. Thankfully, Sean appears unharmed, but he has no clear memory of what caused him to collapse.  Through casual conversation, it becomes clear that Sean and Grace are searching for his missing father, who disappeared under mysterious circumstances, and that the latest clues suggest the woods may hold answers.  As they continue deeper into the area, they are joined by Sean’s close friend Eric (Charles Cottier) and Eric’s partner Kate (Alea O’Shea). The pair offer support as they accompany them on the journey. What began as a search blends into a camping trip, with the group attempting to lighten the mood by sharing drinks and making the most of their time together, despite the unsettling circumstances.

A Descent into the Forest Where Reality Fractures and Dark Secrets Begin to Surface

However, as the group continues their search, Sean begins to notice strange symbols carved into the trees, unsettling visions, and faint whispers drifting through the woods. The deeper they venture, the more the forest seems to close in around them, as though reality itself is starting to fracture.  Sean also becomes increasingly aware of a tragedy involving his sister, a past event that appears to linger just beneath the surface of everything he is experiencing. Whether these disturbing occurrences are tied to the forest, his family history, or something far more sinister remains uncertain.  As tension escalates, the central question becomes whether the group will uncover the truth behind his father’s disappearance or instead stumble into something far more dangerous than they ever anticipated. Surrounded by growing darkness and unease, Sean and his friends are forced to push forward together, even as the woods seem to turn against them.

An Australian Horror Mystery Debut Told Through a First Person POV Perspective

Dead Eyes is a blend of horror and mystery, combining elements of psychological unease. The film also marks the directorial debut of Richard E. Williams, who wrote and produced it, making it a strong personal project. It is an Australian production, grounded in its setting and tone in the woods, following its central character through a first-person POV, immediately setting it apart from more conventional genre entries.

A Visceral Horror Experience Elevated by Strong Gore, Immersive POV Camerawork, and Surreal Dream Sequences

In terms of its strengths, the film ticks several key boxes for the horror genre. It delivers some genuinely gruesome moments, with on-screen blood and gore that look impressively realistic and well executed.  Visually, the camera work is also a highlight. The POV style is generally smooth and engaging, making for an immersive viewing experience at its best. There are also several dreamlike sequences involving the film’s lead, Sean, which added an unexpected layer to the narrative. These transitions are often creative and visually striking, offering some of the film’s more memorable and inventive moments.

A Visually Striking Horror Held Back by Exposition Heavy Writing and Uneven Tone

While the film’s horror elements and camera work are a definite strength, its plot and dialogue deliver a more uneven result. The opening is weighed down by heavy exposition, leaving viewers to wait a considerable stretch before gaining any meaningful insight into what is unfolding. As a result, the pacing often feels slow, and the film frequently drags.  The finale also veers into territory that feels both familiar and increasingly absurd, rather than delivering a satisfying payoff. The dialogue rarely feels natural, and while the POV style is initially engaging, it quickly becomes strained, with characters often forced to overexplain events as though the audience cannot follow along.  Even during moments of heightened tension or intensity, the character work feels inconsistent. Some performances lean into exaggerated, almost comedic delivery, while others remain detached and emotionally flat. This tonal imbalance makes it difficult for the more tragic or serious moments to land fully.

A Visually Strong Australian Horror with an Intriguing Concept Undermined by Uneven Execution and a Familiar Ending

Overall, Dead Eyes presents an intriguing horror concept, supported by a strong visual style, plenty of gore and blood, and practical effects that fans will likely appreciate, along with a cool creature design. The film uses a POV perspective for its lead character as we explore their tragic family history. While the POV approach is occasionally effective and visually interesting, it ultimately struggles to keep audiences engaged. At times, it feels more like a video game than a film, which pulls the viewer out of the experience rather than drawing them in and keeping them on the edge of their seat. The dialogue is fairly weak and often feels forced, as if it were designed to guide audiences through a step-by-step set of instructions or actions. The opening also relies heavily on exposition rather than allowing the story to unfold more naturally. The acting for the lead character, Sean, feels inconsistent, both in performance and in how he interacts with other characters throughout, coming across as clunky and uneven. Despite these issues, it remains watchable and maintains some interest through to the end, even if key details are withheld for much of the runtime. The conclusion, however, feels familiar rather than surprising, and eventually becomes somewhat absurd in its final moments. In the end, Dead Eyes is a strong concept with real potential, but it suffers from a slow pace that often drags, even when it feels like the story has concluded. As an Australian horror feature, it may work well for some viewers, but unfortunately, it did not fully land for me.

Dead Eyes (2025) will be Available at the Gold Coast Film Festival 2026. For sessions and more information, click here: https://gcff.com.au/

About the Reviewer

Peter Walkden

Film writer and curator with a deep passion for cinema, genre filmmaking, and physical media. Exploring new releases, cult favourites, and overlooked films, with a strong focus on atmosphere, storytelling, and the theatrical experience.

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