Beyond the Punchline: Why Psychotherapy (2025) is a Horror Fan's Perfect Dark Satire

​Comedic Carnage • Masterpiece Overlook 

As someone who laughs at the most grotesque and graphic scenes in everyone’s favourite horror films, I’ve never been a huge fan of comedy. I like to laugh, and I certainly understand the appeal, but the genre often feels forced. It frequently feels as though writers find one bankable trope and recycle the same plot, changing little more than the setting until the comedic factor is stretched far too thin.

That is not to say I avoid the genre entirely. A few titles have piqued my interest and incited a heartfelt chuckle or three--Tucker and Dale vs. Evil (2010), Cocaine Bear (2023), and Mona Awad’s brilliant novel Bunny. There are exceptions to every rule. Still, I was unprepared for Psychotherapy: The Shallow Tale of a Writer Who Decided to Write About a Serial Killer (2025).
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The Buscemi Factor and Sinister Nonsense
Everyone knows the iconic filmography of Steve Buscemi: Con Air (1997), Reservoir Dogs (1992), The Big Lebowski (1998), and more recently, Wednesday on Netflix. He masterfully portrays "nonsense" characters, often bringing something especially sinister to his villainous roles. To be honest, Buscemi is the reason I pressed play. While I won't claim this is the absolute pinnacle of his seasoned career, I cannot fathom a more perfect actor to embody the role of the serial killer, Kollmick.

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The Psychology of Weaponized Incompetence
The film carries an "elephant in the room" awkwardness that perfectly fuels its dark satire. It’s a believable, cringeworthy friction that serves as the movie's most compelling element. The very real wedge driven between Keane (John Magaro) and his wife Suzie (Britt Lower) is both relatable and realistic. Keane’s lack of self-awareness is a testament to the culture that upholds weaponised incompetence in men, leaving Suzie appearing dry and overly analytical as she navigates the wreckage of their shared life. While this provides a comedic catalyst for the film, Keane is undoubtedly one of the most childish characters I have ever witnessed. I found myself wholly empathising with Suzie’s exhaustion within their domestic dynamic.

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Spoilers Ahead – Proceed With Caution

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Final Verdict:
​Psychotherapy: The Shallow Tale of a Writer Who Decided to Write About a Serial Killer (2025) ⭐⭐⭐⭐

• Atmospheric Integrity | 4.5 / 5 -- Masterfully leans into "elephant in the room" awkwardness, using subtle, ominous vignettes to create a tone that feels almost uncomfortably honest.
• Psychological Realism | 4 / 5 -- Captures a painfully relatable domestic decay, highlighting how weaponized incompetence and lack of self-awareness can push a partner toward a cold, "dry" detachment.
• Intersectionality | 4 / 5 -- Brilliant casting that utilizes Buscemi’s signature "nonsense" energy against a female lead who subverts the "nagging wife" trope by harboring her own lethal agency.
• Overall Rating | 4 out of 5 Stars

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Red Flags and the Thrill of Subversion
The cinematography and writing balance each other beautifully, creating a nonsensical tone that serves as a perfect stage for the script—which, incidentally, could have functioned just as well as a classic horror-thriller. It isn’t overplayed; the ominous vignettes are subtle and feel almost uncomfortably honest.
The progression of emotions was a wild ride, leading all the way to a twist ending that was set up masterfully in retrospect. Still, I am left with questions—some lingering in areas I suspect were intentionally obtuse. I’m still not entirely sure why Kollmick chose Keane to shadow him. Keane is clearly not cut from that cloth; a fact Suzie begins to suspect as she second-guesses his motives. When Keane starts reading books on toxicology and autopsies, she doesn't just see a strange new hobby—she begins to wonder if her husband is actually planning to kill her. (Kudos to her, because my own interest in forensic topics might have blinded me to that red flag!) Much to his surprise, the finale reveals that Suzie has already attempted to murder Keane multiple times. Her composure in the end, as she masks the perhaps unexpected thrill of cleaning up this mess, is truly impressive.The cinematography and writing balance each other beautifully, creating a nonsensical tone that serves as a perfect stage for the script—which, incidentally, could have functioned just as well as a classic horror-thriller. It isn’t overplayed; the ominous vignettes are subtle and feel almost uncomfortably honest.
The progression of emotions was a wild ride, leading all the way to a twist ending that was set up masterfully in retrospect. Still, I am left with questions—some lingering in areas I suspect were intentionally obtuse. I’m still not entirely sure why Kollmick chose Keane to shadow him. Keane is clearly not cut from that cloth; a fact Suzie begins to suspect as she second-guesses his motives. When Keane starts reading books on toxicology and autopsies, she doesn't just see a strange new hobby—she begins to wonder if her husband is actually planning to kill her. (Kudos to her, because my own interest in forensic topics might have blinded me to that red flag!) Much to his surprise, the finale reveals that Suzie has already attempted to murder Keane multiple times. Her composure in the end, as she masks the perhaps unexpected thrill of cleaning up this mess, is truly impressive.