Fifteen years after the original cult horror The Hills Run Red shocked audiences with its brutal meta-narrative and masked killer "Babyface", director Dave Parker returns with The Hills Run Red 2 (2024) — a sequel that both honors its bloody roots and dives deeper into the darkness. Where the first film blurred the lines between fiction and reality, the second one burns that line to ash.Set in the present day, The Hills Run Red 2 follows Riley Monroe (played by Cailee Spaeny), a young film archivist who stumbles upon a long-lost reel marked only with the initials “T.H.R.R.” Obsessed with horror history and the legacy of missing cult filmmaker Wilson Wyler Concannon, Riley becomes determined to uncover the truth behind the original film and its rumored unfilmed sequel.
But the deeper Riley digs, the more disturbing her reality becomes. Her investigation leads her to the original film’s shooting location deep in the Appalachian woods — now abandoned and decaying. Alongside a small documentary crew, Riley sets out to record her journey, only to discover that Babyface may not be as fictional as everyone believed.Cailee Spaeny brings grit and vulnerability to Riley Monroe, a character haunted by both academic obsession and a dark past. Rather than echoing the “scream queen” archetype, Riley is intellectual, resourceful, and morally ambiguous — a refreshing lead for modern horror.
The supporting cast includes Max Thieriot as Derek, a conspiracy-obsessed YouTuber chasing internet fame; Aimee Carrero as Jess, Riley’s skeptical best friend and sound technician; and Lance Reddick in one of his final roles as Professor Halloran, a mysterious scholar who knows more about the Concannon legacy than he admits. Each character adds depth and tension as the lines between their documentary and real terror dissolve.One of the most compelling elements of The Hills Run Red 2 is its exploration of horror as both history and curse. The film draws on themes of inherited trauma, obsession with media, and the dangerous allure of unfinished stories. Riley isn’t just trying to find Babyface — she’s trying to understand what makes a horror story last.
Director Dave Parker smartly avoids recycling the first film’s plot. Instead, he expands the universe while retaining the brutal edge fans expect. Babyface, redesigned subtly with a cracked porcelain mask and stitched-together clothing, returns as a mythic figure — one whose silence speaks volumes. And yes, the kills are relentless, often practical, and disturbingly intimate.
The cinematography by Autumn Durald Arkapaw is haunting. The camera lingers on decaying locations, ruined film sets, and creeping forest shadows — giving the entire film a sense of haunted nostalgia. The use of old VHS footage interspersed with modern digital film creates a jarring contrast that enhances the feeling of being caught between two timelines.
Parker’s direction is sharper and more self-aware this time around. Where the first film had a rough-edged charm, the sequel feels more polished without losing its grindhouse spirit. There are meta-references to horror fans and film culture, but they’re handled with subtlety — no winking at the camera, just a slow, creeping dread that reminds us why horror still resonates. Yes, Babyface is back. And he’s not alone.
Without giving too much away, the film explores the concept of legacy killers — individuals who adopt masks and personas to keep stories alive. It’s a chilling idea: what if horror villains never die, because someone always wants to become them?
The kills are brutal and creative. From a claustrophobic tunnel sequence that rivals The Descent, to a grotesque re-creation of a lost film scene, Parker doesn't hold back. The violence is purposeful — not glorified, but designed to unsettle.
The sound design is a standout. Every creak, snap, and muffled scream is immersive. Joseph Bishara’s score pulses beneath the surface with a mix of vintage synth and discordant strings, echoing the chaos and dread that builds throughout the film.
One particularly memorable scene features a silent kill set entirely to the hum of an old film projector. It’s moments like these that elevate The Hills Run Red 2 beyond standard slasher fare.
At its heart, this sequel is about obsession: with film, with identity, and with the past. Riley’s descent mirrors the audience’s — our hunger for the next horror, the next killer, the next lost film. The narrative asks: At what cost do we chase unfinished stories? Who pays the price for our entertainment?
The film also comments on media consumption and internet culture. Derek’s attempts to turn their trip into content become a chilling critique of how we commodify trauma and spectacle.
The Hills Run Red 2 is not just a horror sequel — it’s a disturbing meditation on horror itself. Blending slasher brutality with smart psychological themes and stunning visual work, it delivers for both fans of the original and new viewers. It refuses to give easy answers, choosing instead to haunt long after the credits roll.
Rating: 8.5/10
Gruesome, thought-provoking, and unsettling in the best ways, The Hills Run Red 2 proves that some horrors aren’t buried — they’re waiting to be found.
