What Freaky also manages to do, seemingly effortlessly, is to include humanity and vulnerability to some of the relationships which culminate in a sweet moment between Vaughn, as Millie, and her mother, played by Kate Finneran, in a changing room. Similarly, composer Bear McCreary brings home the bacon when it comes to Freaky's score which drives the movie forward with urgency and confidence. Both bring an entertaining and engaging balance to the equation creating a believable and immediately winning dynamic. Kudos must be given to Misha Osherovich as Josh and Celeste O'Connor as Nyla, Millie's best friends. While Newton has undoubtedly arrived here, Vaughn is back in a big way. There is an intensity to Newton's stare as the killer that cuts like a knife and an air to Vaughn's Millie, which genuinely makes you wonder if this is the most fun he's had with a role for well over a decade. They imbue both characters with vigor, commitment, and physicality, and the levity and darkness that they bring is never anything other than a blast. Vaughn and Newton pull double duty playing both the killer and the teenage girl, giving each an energy that could easily have tipped into hammy or campy yet never does. That gutsy choice sets the bar high in the very first minutes. Right from the get-go, with an early massacre, the tension is there, the darkness and the humor are on display, deftly choreographed and pulling the viewer in. The movie has set-pieces that might become genre fan favorites, but Freaky is really about the whole and not solely the (body) parts. What Freaky doesn't do is rely on that, squander it, and consider it enough for the audience. Play While Happy Death Day and its sequel were PG-13, Freaky earns its R-rating, delivering an ample body count and some innovative kills that elicit laughs as much as they do shock.

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