The Stalking

The Stalking (2024) 

Is a quirky, low-budget horror film that stands out for its strange yet oddly compelling premise: killer sunflowers animated by a supernatural force. Directed by Mark Polonia and Jeff Kirkendall, the film leans heavily into B-movie territory, mixing slasher tropes, practical effects, and Halloween-themed mayhem into a brief but punchy runtime of 72 minutes.

Set during Halloween night in a quiet suburban neighborhood, the story begins with an old witch performing a dark ritual to bring her sunflower garden to life. However, the spell goes too far, and the sunflowers become sentient and bloodthirsty. These mutant plants begin stalking and attacking unsuspecting residents, using their roots and vines as weapons. At the heart of the chaos is a group of local teens, including Diesel, Lauren, Joey, Marc, and Diz, who are forced to band together to survive the onslaught.

The film’s aesthetic is deliberately raw and unpolished, embracing its DIY roots. The practical effects—especially the sunflower creatures—are created with a combination of puppetry, masks, and handmade costumes. While the designs might seem silly at first glance, they contribute to the film’s campy charm. There’s a tactile weirdness to seeing giant sunflowers with eyes and teeth lurching through Halloween fog, and the filmmakers clearly have fun with it.

Cinematographically, The Stalking uses tight close-ups and night-vision shots to build tension, creating a sense of claustrophobia and unease. The editing is occasionally rough, with some abrupt scene changes and tonal shifts, but this unevenness also gives the film a spontaneous, unpredictable energy. Fans of retro horror and creature features will likely appreciate this unapologetic throwback approach.

While the narrative is thin and character development is minimal, the teenage protagonists are likable enough, with a few humorous and heartfelt moments that keep the film from taking itself too seriously. Themes of teenage alienation, bullying, and underdog resilience are touched upon, but the focus is clearly on the spectacle and absurdity of being hunted by man-eating plants.

Audience reactions have been mixed, as is typical with niche horror. Some viewers admire the film for its originality, humor, and homemade effects, calling it a “fun little horror gem” with “a lot of heart.” Others criticize it for poor acting, cheap visuals, and a lack of coherent storytelling. Still, this divide is precisely what gives it potential cult status—it’s the kind of movie that invites late-night viewings, group laughs, and ironic appreciation.

In the end, The Stalking is a horror-comedy hybrid that doesn’t aim for sophistication, but rather for a bizarre kind of entertainment that only low-budget horror can provide. With killer sunflowers, occult rituals, and a dash of Halloween nostalgia, it delivers a surprisingly memorable ride. For fans of indie horror who enjoy absurd premises and homemade thrills, this film offers something delightfully offbeat and refreshingly unpretentious.