Itch! (2024) Review
Itch! (2024) Review
Bari Kang’s acclaimed new horror ‘Itch!’ received its UK premiere at Grimmfest and is now set to erupt onto our screens with its digital debut on 20 April 2026, courtesy of Seven Tales.
This critically lauded feature is Kang’s horror debut, and he not only writes, directs and produces, he also takes the lead as Jay, a widower grappling with grief and despair. The film also stars Patrick Michael Valley, Ximena Uribe, Mia Ventura Lucas and Douglas Stirling.
Following news of a terrifying and deadly outbreak that’s spreading like wildfire and turning its victims into frenzied, animalistic beings hellbent on self-destruction, Jay and his daughter – played by his own daughter Olivia Kang – are searching for somewhere to hide from the chaos that’s taken hold of the city.
Desperate to protect his daughter from horrific virus ‘The Itch’, they end up in a seemingly safe convenience store… but the supposed sanctuary rapidly descends into a nightmarish trap, where the true danger is lurking amongst the people who have ended up there.
With the infection closing in and paranoia escalating within the group, Jay and his daughter are forced into a harrowing battle – not just against the outside world and the rapidly spreading disease, but against the darkness in human hearts when faced with survival. With every decision a life-or-death choice, they must confront their fractured bond and make brutal choices to stay alive, leading to an unimaginable climax that questions what it truly means to protect those we love.
This low-budget horror effort opens with a promising sense of intrigue but quickly settles into a disappointingly one-note rhythm. While the premise suggests potential for psychological depth, the film falters in its approach to characterisation. The individuals on screen are not so much developed as they are explained: each unexpected action is followed by a convenient backstory, offered less as insight and more as justification. This is not character-building—it is narrative shorthand. In a scenario defined by survival, such over-explanation feels unnecessary and ultimately undermines emotional investment.
Despite being set in New York City, the film makes surprisingly little use of its environment. One might expect a constant, looming sense of external threat in such a densely populated urban setting, yet the danger rarely materialises in any meaningful way. The occasional infected straggler fails to generate tension, leaving the supposed menace feeling distant and abstract. The film clearly aims for a tone of bleakness, but where it strives for oppressive dread, it instead lands on something merely dour and inert.
There are, of course, stronger examples of this kind of claustrophobic, character-driven horror. Dawn of the Dead and The Mist both explore similar themes of confinement and external terror with far greater nuance and intensity, balancing human drama with genuine suspense.
The first half of the film is arguably its most engaging, driven largely by the audience’s curiosity about where the story might lead. Unfortunately, it ultimately follows a predictable path, offering little in the way of surprise or thematic development. One notable bright spot is Douglas Stirling as the physically imposing Henry. Stirling commands attention whenever he appears; the camera clearly favours him, and he brings a welcome charisma that the rest of the film sorely lacks. On the strength of this performance alone, he is certainly a talent worth watching in future projects.
On UK digital 20 April from Seven Tales
On US digital 21 April
