Hate Thyself (2026)

-Written by Kyle Bain. 

Hate Thyself follows a struggling detective, Angelo Mateo (Oscar Torre), as he attempts to solve the mystery of an ever-growing missing-persons pandemic. As he navigates a treacherous world of addiction and death, he must face his inner demons before he can rescue those around him. 

At the core of Hate Thyself is a strong narrative, one that is sure to intrigue viewers and keep them entranced from start to finish. Many of the acts committed on screen are horrifying; they can be incredibly challenging to watch. The film, however, doesn’t avoid being honest with its audience, and it doesn’t attempt to shelter them. I appreciate that honesty, as it speaks to viewers with a level of maturity that can sometimes be absent in films of this nature. 

Seemingly gratuitous death and destruction often fill the screen—something that may initially appear to hinder the film’s success—however, what this does is develop a growing intensity that never subsides, but rather strengthens the narrative as it goes. Hate Thyself leans heavily on the idea of showing viewers uncomfortable visuals—and it’s absolutely successful in this regard. Again and again I found myself cringing at what appeared on screen. I’m not typically a squeamish person, but what Director Shivaan Makker is able to produce forced me to the edge many times. I’m impressed by the fact that Makker refuses to pull any punches and leans heavily into those aforementioned grotesque visuals. 

Furthermore, there are some compelling technical aspects that propel Hate Thyself forward and help to create an immersive experience. The use of silence, for example, plays a key role in some of the more defining moments of the film. A score can determine the tone of a film, but the absence of one can play just as strong a role. The deafening silence that accompanies many of the most horrifying scenes is a brilliant example of how less is more and how Makker takes full advantage of simplicity over abundance in this particular case. Hearing the distressing grunts, the hushed dialogue, or the natural sounds of the surroundings strengthens these scenes in Hate Thyself, creating a bridge that emotionally connects viewers to the content on screen. 

Hate Thyself isn’t without issue, however, as there are aspects of this film that tip the scales, causing pieces of this film to fall flat and hinder its overall success. One of the most trying issues with Hate Thyself is the acting. Not every actor is at fault, but the film’s protagonist, Angelo, is meant to be the emotional anchor that ties everything together. There are frequent instances in which Torre misses the mark and fails to drive home the emotional component of the film. Furthermore, while many of the other actors do well conveying emotion and helping to develop an emotional core in Hate Thyself, Torre’s frequent inclusion in scenes with others shifts the focus to him and, again, tips the scales of success. 

However, the thing that frustrated me the most about Hate Thyself is its structure. While I do believe that Makker knows what he wants his film to be about, he has a relatively concrete narrative together. The issue isn’t the story itself, but the fact that Makker and his team move willy-nilly through it, seldom giving viewers time to breathe and regroup. There are a handful of times when I questioned whether or not the narrative was running in linear fashion, as it felt that we had somehow traveled hours or days into the past without warning. Hate Thyself is wildly fractured as a result of this, as there were multiple instances in which I felt lost in the constant shifting. 

Hate Thyself possesses many powerful components, and I believe that they effectively outweigh the negatives that exist within the film. A strong sound design, an intentional honesty, and some compelling performances make the film worth watching. However, it’s hard to ignore the glaring issues that remain present throughout the film. Some emotional missteps and a frumpy narrative structure bog Hate Thyself down. All in all, however, the film delivers on the early promises that Makker makes. 

Directed by Shivaan Makker. 

Written by Sullivan McGuffin. 

Starring Oscar Torre, Gary Brunner, Tony Todd, Danforth Comins, Christina Urias, etc. 

6.5/10 = WATCH IT FOR FREE