John Berardo’s ‘THE MANNEQUIN’ Review: All Dressed Up But Never Moves

JOHN BERARDO’s THE MANNEQUIN is a supernatural slasher that tries to thread the needle between atmospheric possession horror and emotional drama. Following up his 2020 film INITIATION, Berardo moves away from straightforward campus slasher tropes into something moodier and more ambiguous, with results that are intriguing if not always consistent.

The story follows Liana Rojas (ISABELLA GOMEZ), a young woman still reeling from the mysterious death of her sister. Seeking answers, she moves into the historic Los Angeles building where her sister died. What begins as a personal search for closure soon becomes a descent into terror, as the building reveals its haunted past. Liana discovers that the place is bound to the vengeful spirit of a mutilation-obsessed killer, whose presence manifests through both ghostly apparitions and the unsettling stillness of a mannequin hidden within the structure.

From the outset, Berardo sets a distinct tone. The black-and-white prologue plays almost like a lost reel from a mid-century horror film, a stylistic flourish that immediately distinguishes the film from its peers. Combined with a moody score that includes eerie theremin cues, the aesthetic choices feel deliberate and immersive. When the film leans into this haunted atmosphere, it works beautifully. The building itself (and its fun address numbers) becomes a character, its shadows and footsteps amplifying the dread.

Where THE MANNEQUIN most succeeds is in its set pieces. Possession sequences are genuinely creepy, with characters suddenly shifting into doll-like stares or jerky, uncanny movements. These moments carry a quiet, effective menace. While the film doesn’t feature a large body count, the kills it delivers are effective, often grounded more in unease than in gore. The interplay between human characters and supernatural forces keeps the tension alive, even when the pacing slows.

The emotional core of the film also deserves credit. Gomez gives Liana a sympathetic edge, grounding the film in grief and guilt. Her search for answers about her sister provides more than a typical “final girl” motivation; it adds layers of vulnerability that deepen the story. The relationships between Liana and those around her—friends, neighbors, and potential suspects—are handled with enough care to give the narrative a beating heart amid the horror.

Still, the movie isn’t without shortcomings. One of the biggest criticisms is pacing. Much of the first half is devoted to drama and character exploration, which is admirable in theory but delays the horror elements audiences came for. When the supernatural finally takes center stage, it sometimes feels like an abrupt tonal shift rather than an organic escalation. In addition, the title THE MANNEQUIN raises certain expectations. Some viewers may anticipate an outright “killer mannequin” movie, but the object here functions more symbolically than literally. For those craving the spectacle of a possessed mannequin slashing its way through the cast, the film may come as a disappointment.

Performance quality also varies. While Gomez anchors the movie well, some supporting roles veer into melodrama, and a few scenes unintentionally border on camp. The film occasionally struggles to balance its emotional ambitions with its horror mechanics, leaving certain subplots under-developed.

Ultimately, THE MANNEQUIN is a film that values mood and theme over relentless scares. It won’t satisfy those seeking nonstop slasher carnage, but for viewers who appreciate a slow burn infused with haunting imagery and an emotional throughline, it offers enough chills to warrant attention.