‘The Scary Of Sixty-First’ Review: Dasha Nekrasova’s Directorial Debut Is A Stylish, Daring Thriller… Until It Falls Apart

Confidence is key in almost every aspect of life. With enough confidence, you can get away with quite a bit. You know, like turning a shallow premise and a low budget into a thoroughly watchable film. This is exactly what Dasha Nekrasova has done with the new horror-thriller, “The Scary of Sixty-First,” a film that is absolutely dripping with so confidence—perhaps unearned bravado, as it is severely lacking in some key areas—that it almost allows you to look past its glaring flaws.

Noelle (Madeline Quinn) and her (sorta, kinda) friend, Addie (Betsey Brown), have found the deal of a lifetime while out apartment hunting in Manhattan. There’s this great apartment, fully furnished—it even has a piano—and its cost is too low to pass up, even if it is a bit dirty since it’s been vacant for months and the previous tenant is nowhere to be found. So, what are two twenty-somethings to do? Well, you snatch that apartment up as quickly as possible, of course!

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Unfortunately for the two roommates, things don’t go so well almost from the very start. Addie begins to feel haunted by weird dreams, and Noelle is confronted by a strange woman (Nekrasova) who tells the new tenant that her apartment was previously owned by Jeffrey Epstein and used for nefarious purposes. Yes, that Jeffrey Epstein. This knowledge sends Noelle and the stranger down a rabbit hole of conspiracy theories about the deceased billionaire/alleged pedophile and the state of the world. All the while, Addie continues to spiral out of control, seemingly possessed by an unknown spirit that makes her act out these Epstein-inspired fantasies. 

The aforementioned premise of “The Scary of Sixty-First” can easily go one of two ways—either it’s an interesting exploration of a topical story layered with complex ideas about conspiracy theories and how they affect the minds and attitudes of people in 2021, or the plot is just taking the typical possession-thriller concept and replacing discussions of vengeful spirits with Joe Rogan-esque pontification about Epstein and how the government is lying to you. Sadly, for those watching “The Scary of Sixty-First,” it’s almost entirely the latter. 

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But to really explain how “The Scary of Sixty-First” ultimately disappoints, you have to understand how great the first two-thirds of the film actually is. From the first shot of the film, as you see images of buildings in New York City, film grain readily apparent, and a haunting, giallo-inspired score from Eli Keszler setting the tone, it’s utterly beautiful and enchanting. Nekrasova isn’t afraid to fully embrace the ‘70s/‘80s horror vibe, leading to a film that, on the surface, feels like it was a forgotten classic recently discovered in some cinephile’s basement. That is, until you notice a random iPhone popping up or the near-constant discussion of modern conspiracy theories. And the style of the film is carried on in the shot selection, the quirky acting, and the pacing, as jump scares are replaced with slow-burn tension and looming chaos that can be felt approaching as the run-time ticks by.

And even when the whole Epstein plot of revealed and characters begin talking about pedophile rings, #pizzagate, and Clinton murders, the insanity of the dialogue and the thin plot are quickly forgiven because you can’t help but be impressed by Nekrasova’s complete confidence in her craft. This is most apparent in the scenes featuring Addie spiraling out of control. When ‘Sixty-First’ isn’t focused on Noelle and The Girl (Nekrasova’s character isn’t given a name) talking about conspiracies while high on whatever pill they have lying around, we’re treated to the ever-changing state of mind of Addie, as she descends into madness and her sexuality is devolving into a primal, frightening abyss. And Nekrasova isn’t afraid to show full scenes where Betsey Brown is by herself in a beautifully creepy room where she’s completely lost her mind and is rambling about Prince Andrew and performing disturbing, graphic sexual acts that are sure to make the viewer uncomfortable. These are scenes that will make even the most hardcore of horror directors blush. And they’re magnificent.

Then you reach the third act and the entirety of “The Scary of Sixty-First” comes crashing down and the incredible confidence that carried the first two acts of the film can’t sustain the poorly conceived plot twists, which confirm something that viewers feared the whole time—the film doesn’t have much to say at all and is a classic case of style over substance. Without getting into spoilers, suffice it to say the commentary and critique that felt laced throughout the dark comedic moments of the film are washed away and replaced with a feeling that maybe the viewer was just digging too deep out of the sheer benefit of the doubt? You so badly want Nekrasova to bring everything together and finish strong and the ending just feels…shockingly shallow and confounding.

Can you recommend the first 60 minutes of a film without endorsing the last 20? Sadly, that’s the question facing “The Scary of Sixty-First.” Obviously, the film is a great stylistic showcase for Dasha Nekrasova, who not only proves that she’s an exciting filmmaker willing to take big swings but also is a pretty solid actor on top of that. “The Scary of Sixty-First” is a well-crafted, exciting, daring, interesting thriller…until it isn’t. Much like the conspiracy theories it spouts, once you dig a little deeper, things begin to fall apart. [C-]

“The Scary of Sixty-First” is now playing in select theaters and will hit more theaters and VOD on December 24.