"THE RULE OF JENNY PEN" (2024) Is Easily One Of The Best Horror Movies Of The Year (REVIEW)

At the beginning of each new year, we get incredibly excited at Macabre Daily for the upcoming crop of horror films set to hit theaters month after month. Last year came out of the gate hot, with nunsploitation and demonic possession leading the way with “Immaculate,” “The Final Omen,” and “Late Night with the Devil” chilling spines and giving horror lovers hope that this would be a strong year for frights. Turns out 2024 was just that. Not a landmark year like 78’ or 82’ but a solid, respectable showing, much along the lines of 21’ and 22’. We’ve been fortunate that creative talents are finding new, original, and exciting ways to scare the pants off packed houses.

Along with that roster of solid films, we get one, possibly two, groundbreaking films that recalibrate horror almost entirely, such as Coralie Fargeat’s “The Substance,” or elevate the bar for an established sub-genre, such as Damian McCarthy’s folk-horror masterpiece, “Oddity.” These films can reinvigorate and revitalize the most jaded of horror fans and add a level of excitement that is intoxicating to the “Chasing the Dragon” hamster wheel approach we’ve all signed on for since experiencing that first transcendental cinema scare. We can now confidently state that 2025 should, and hopefully, will be known for the release of James Ashcroft’s “The Rule of Jenny Penn,” a return to the slow burn, engaging horror of the 70s done with such a beautifully controlled sense of timing, spectacle, and heartbreak that you’ll feel as if you're watching a conductor lead a symphony. Featuring two of the most remarkable performances you're likely to see this year from John Lithgow, and Geoffrey Rush, this movie immediately establishes itself as a front-runner for best horror film of the year.

SYNOPSIS: 

Arrogant Judge Stefan Mortensen (Rush) has a near-fatal stroke, leaving him partially paralyzed and confined to a retirement home. Resistant to the staff and distant from his friendly roommate, Mortensen soon clashes with seemingly gentle resident Dave Crealy (Lithgow), who secretly terrorizes the home with a sadistic game called, “The Rule of Jenny Pen,” while wielding his dementia doll as an instrument of cruelty. What begins as childish torment quickly escalates into more sinister and disturbing incidents. When Mortensen’s pleas to the staff go unanswered, he takes it upon himself to end Crealy’s reign of terror.

WHAT WORKS:

We have to start with the phenomenal script from Ashcroft and Eli Kent, his co-writer for “Coming Home in the Dark,” based on the short story by Owen Marshall. It’s so well constructed for two powerhouse character actors like Rush and Lithgow to play in and make their own. What could be misconstrued as a new take on “Misery,” which is excellent company for any film comparison, is so much more. An exploration of the cruelty of aging, of becoming invisible within your own skin, of losing a sense of place in the world, exacerbated by the presence of a psychotically childish, homicidal bully intent on dishing out cruelty to anyone, at any time. Cinematographer, Matt Henley (“Punch”), does wonders with the mundane interiors of the retirement home, and Editor, Gretchen Peterson (“Black Snow”), keeps a tight, escalating rhythm of dread that’s almost sadistic in its effectiveness.  

This brings us to the leads of the film. It’s safe to say that neither Rush, nor Lithgow, have had such rich material to work with for some time. Lithgow shines in a role that echoes some of his finest DePalma work, utterly delighting in using his imposing size and stature against the frail residents of Pine Hill Mews. His nightly visits with eyeless plastic doll, Jenny Pen attached to his hand (a brilliant addition to the horror hall of fame for sinister accessories by the way). Lithgow is like the shark in “JAWS,” casting a pall of dread and terror in his wake and changing the atmosphere of every room he’s in.

Rush is his polar opposite, all buttoned up elitism and intellectual superiority. His defiant stance of “I’ll just be here till I’m better” to the eventual acceptance of his new reality is a sight to behold. Set upon by Crealy, his refusal to let this man destroy not only his fragile body but the core of his being; his belief in a righteous system of justice that must be recognized and upheld, is the backbone of this movie. As it becomes clear to Mortensen that his new world is one where his opinion means as little to the staff as his very existence, you witness a man coming to grips with the utter destruction of his black and white philosophies. Rush is magnificent in the role and, unlike Lithgow, who easily makes you love to hate him, has the more challenging task of making you hate to love him.

WHAT DOESN’T WORK:

Everything works in this film, everything. Does Lithgow need comically nasty teeth to accessorize his depravity? Probably not, but it still adds to his delightfully devious persona.   

SUMMARY:

Whether it gets the attention it deserves, “The Rule of Jenny Pen” is one of the best horror films of 2025. James Ashcroft created a fully realized nightmare world in an environment many never see or know little about. A perfect example of the kind of film “word of mouth” was made for. We implore you to seek this one out in the theater for a fully immersive experience. We hope this year produces more of these gems, but we’ll consider ourselves lucky to have this one so soon into the new year.

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