Slanted (2026) Review!!

Synopsis – An insecure Chinese-American teenager undergoes experimental surgery to appear white, hoping to secure the prom queen title and peer acceptance.

My Take – Since high school has always been a rich setting for horror, filmmakers keep finding new ways to explore that stage where teenagers are figuring out who they want to become. It works so well because high school is already full of anxiety, peer pressure, and identity struggles—feelings that naturally heighten fear.

The familiar spaces—empty hallways, classrooms, strict authority—can quickly feel isolating. That mix of routine and vulnerability makes any hint of horror feel disturbingly real, something stories from Carrie (1976) to Jennifer’s Body (2009) and The Craft (1996) have explored in their own ways.

That’s also true for this feature debut by Amy Wang, the co-creator of the short-lived Netflix series The Brothers Sun and writer of the upcoming Crazy Rich Asians sequel, who brings a more literal take on transformation by adding a body horror twist to a coming-of-age story. Set against classic high school elements like cliques and prom queen rivalries, the film also weaves in the immigrant experience in America.

The result feels like a mix of Mean Girls, Get Out, and The Substance—smart, funny, and unexpectedly emotional, even if it sometimes follows familiar beats. Instead of focusing only on shock value, director Wang uses the story to talk about identity, belonging, and the reality of chasing the American Dream. The film suggests that the system has never been equal, and that sense of unfairness still lingers. It’s messy and thought-provoking, offering no easy answers but refusing to ignore the truth. At once familiar and intense, the film keeps you on edge. It’s funny, unsettling, emotional, and angry in equal parts—an experiment that mostly works.

The story follows Joan Huang (Shirley Chen), a Chinese-American high schooler who moved to the U.S. with her parents, Sofia (Vivian Wu) and Roger (Fang Du), a decade ago. Since then, she has struggled to fit in, often feeling out of place among her white peers and growing increasingly insecure about her looks. Joan has long dreamed of becoming prom queen—a goal she clings to with her best friend Brindha (Maitreyi Ramakrishnan). When the school’s most popular girl, Olivia Hammond (Amelie Zilber), steps out of the race after landing a role in a superhero show, Joan believes her moment has finally come.

But the teasing doesn’t stop, and Joan becomes convinced that she doesn’t fit the “ideal” image needed to win. That belief leads her to Ethnos, a mysterious clinic that offers ethnic modification surgery. Desperate to change her life, Joan undergoes the procedure and transforms into Jo Hunt (Mckenna Grace), a white teenager. At first, everything she hoped for falls into place—but the change soon brings unsettling and dangerous consequences.

For just over ninety minutes, director Wang confidently blends social satire, body horror, high school comedy, and cultural drama, showing a clear willingness to push boundaries. Like many films in this space, the satire isn’t exactly subtle. The central idea is obvious and often spelled out, leaving little room for the audience to question their own views on “whiteness” and “otherness.”

The tone is set early on, as a young Joan drives through her new neighborhood with her father, passing exaggerated images of American culture—blonde women, fast food, and over-the-top patriotism. Still, even with its heavy-handed approach, director Wang manages to deliver a heartfelt look at identity and belonging.

While comparisons to Mean Girls (2004) and The Substance (2024) make sense, the film works best when it focuses on its themes of immigration and what it really means to be American in a system that makes you doubt who you are. The message may not be subtle, but it feels personal—and that’s when the film is most effective. At its core, what really makes the story work is its coming-of-age angle.

Here, director Wang builds a strong emotional base early on, especially through Joan’s relationship with her parents. Because of that, the choices Joan makes later carry real weight. Even if the story follows familiar beats, it remains engaging and sincere. The film leans more into comedy than horror, but it doesn’t completely ignore the darker side of its premise.

When it does, especially in the final act, the body horror elements land well. The makeup work stands out—unsettling without going too far—making it accessible for a younger audience that the film is clearly trying to reach.

That said, the film loses some of its strength toward the end. As Joan (or Jo) begins to deal with the consequences of her transformation and grows distant from her loved ones, the story takes a turn that feels slightly at odds with its main message. And despite its sharp observations, the film rarely surprises. Once the premise is in place, the plot becomes fairly predictable, with each major turn easy to see coming. It’s still entertaining and often funny, but it doesn’t quite have the edge or unpredictability that could have made it truly stand out.

Performance wise, Shirley Chen is heartbreaking as Joan, capturing her loneliness and quiet desperation with real honesty. She makes Joan’s choices feel understandable, even when they seem extreme. McKenna Grace, playing Joan’s transformed self, is a bit less striking but still effective. She carries over Joan’s insecurity while adding an awkward, out-of-place quality that works well for the character.

Vivian Wu and Fang Du are especially strong as Joan’s parents, balancing warmth and concern as they struggle to support their daughter while watching her drift away from her roots. Amelie Zilber and Maitreyi Ramakrishnan also make solid impressions in their supporting roles, adding depth to the story. On the whole, ‘Slanted’ is a sharp body horror comedy that, despite its familiar beats, stays engaging from beginning to end.