Buddy (2026)

Although horror is not necessarily my favorite genre, this theatrical year has ended up more horror-heavy for me than in previous years thanks to some more unique premises and the presence of a recognizable name or IP. Of all the horror films on my radar this year, however, few had me more intrigued than Buddy, the theatrical debut of Casper Kelly, the mastermind behind Adult Swim Yule Log and, more famously, Too Many Cooks. The premise of a horror spin on children’s shows alone caught my attention, but the casting of Keegan-Michael Key and the knowledge that Kelly had created it sold me, as I had faith that he could do the concept justice through his unique lens. As the release date drew nearer, and the more I saw of the rather clever marketing campaign, my anticipation grew, enough that I made the effort to drive to a theater further away than usual just to catch a morning showtime on opening day. While the final film wasn’t exactly the same experience one might expect if they were only familiar with the viral Too Many Cooks, it’s nonetheless very Casper Kelly and felt very much worth the extra effort.

Normally, I would simply state the premise for the film here and then go into my thoughts on how well it handled that premise. As it so happens, however, it lines up with the first few minutes of the film, which hits the ground running in a brilliant way by showing a mock episode of the in-universe It’s Buddy. In the opening episode, Buddy (Keegan-Michael Key), an anthropomorphic bright orange unicorn, alongside his co-host Betty Bunny (Jimmica Collins), an anthropomorphic pink rabbit, interact with a group of children, Freddy (Delaney Quinn), Wade (Caleb Williams), Josh (Luke Speakman), and Oliver (Tristan Broders), in preparation for a dance party. While Buddy teaches Freddy a lesson about how you must first be scared to be brave, in response to her fear of dancing poorly, the threads of the show start to unravel when Josh, an avid reader, refuses to participate in the story.

While there’s nothing wrong with a story taking its time to “set the stage”, it’s still nice when it doesn’t waste any time in getting to the actual plot, which works in Buddy’s favor with its short 96-minute runtime. Going through a short TV show episode at the beginning lays a very solid foundation by efficiently establishing what’s “normal” about this world before it all breaks down, including the characters and their dynamics, while also showing us the catalyst for what’s to come. This opening also gives us an idea of how well Casper Kelly understands the format of children’s shows like Barney & Friends or Pee-wee’s Playhouse, a format which he ultimately embraces, plays around with and, somehow, ultimately weaponizes in increasingly horrific ways, both physically and psychologically. As the film exposes and explores the dark underbelly of  Buddy’s show, we learn more about the world’s surprisingly well-considered rules, which operate with a consistent internal logic, and witness a contrast between the horrific and silly elements that never feels like it’s trying too hard to be scary. In fact, the world of It’s Buddy feels believable as-is, so the horror elements have more impact when they arrive, as do the unexpected touches of artistry, like the use of shadows during one sequence, and even comedy.

Of course, the attention to detail really helps, like how the aspect ratio or range of camera angles changes depending on which part of the film’s world we’re witnessing. As the horror escalates, some neat glitch effects give the audience a good idea of where things are breaking down without overdoing it. It’s Buddy has some pretty catchy songs (I had the theme stuck in my head afterwards) and even some genuinely good plot-relevant lessons that wouldn’t feel out of place in a children’s show, like Freddy’s character arc about bravery. I would make the observation that the style of acting also suits the format while we’re watching the show, but everyone does a good job in their own right, especially the child actors. Particular praise goes to Keegan-Michael Key, who shows off more of what he’s truly capable of as a voice actor by making Buddy sound equal parts intimidating and desperate, even subtly, despite putting on a rather silly voice. Key certainly has a good prospective voice acting or horror career ahead of him if he’s given this amount of room in future projects.

If you’re going in with some familiarity with Kelly’s other work, it’s worth noting that compared with the likes of Too Many Cooks or Final Deployment 4: Queen Battle Walkthrough, the story is much more straightforward. While I think this approach makes sense for a theatrical feature meant for a wider audience, those expecting something more mind bending may walk away more disappointed. That said, the change in approach doesn’t make Buddy any less “Casper Kelly” in practice. He still takes the children’s show format to its logical extreme in a way that only he can and still incorporates thought-provoking themes, such as the mental effects of kidnapping or loss of childhood innocence following a traumatic event. Although Buddy’s true motive is never explained, it’s not really necessary, as the rather bittersweet ending leaves itself open to interpretation. This may not land with some viewers, but it does give the film some good staying power. I’ll also mention that although I could more easily guess certain twists, that didn’t make their execution any less effective.

As for whether or not Buddy is scary, it certainly succeeds without relying on cheap jumpscares (the one or two that are in there are timed very well). For the most part, the gore wasn’t overwhelming, which helped a lot with witnessing the many deaths that occur. That said, there was one moment that I had a hard time looking at in the third act due to my own tolerance level.

It may not be a perfect movie, but Buddy is a well-made theatrical debut for Casper Kelly and worth the effort to see on the big screen, especially if you don’t mind a more surreal take on the horror genre.