Andrew Kevin Walker wrote Se7en — one of the most morally coherent crime films of the past thirty years, a movie that understood evil as evil and paid the price for staring too long. That screenplay took years to get made. So did this one. Psycho Killer has been in development for years before landing with Gavin Polone in the director's chair for his feature debut. The wait wasn't wasted. This is a tightly wound, genuinely unsettling rural horror-thriller — not a sermon, not a social statement, just a film about a woman tracking a monster and the darkness she has to walk through to do it.

Kansas patrol officer Jane Archer's life is destroyed when her husband — a highway patrolman, a good man — becomes the latest victim of a killer the press has dubbed "the Satanic Slasher." Rather than waiting for a broken investigation to take its course, Jane begins her own pursuit. The trail leads her into increasingly dangerous territory: a rural community that knows more than it's saying, a mysterious figure named Mr. Pendleton (McDowell) whose connection to the killer is ambiguous and menacing, and a horror that seems to have deep roots in the land itself. The film unfolds as a procedural-meets-survival-thriller, with Jane moving from cop to hunter as the body count and the stakes escalate.

Walker's script is lean and unsentimental. He doesn't linger on Jane's grief for emotional manipulation — it's the engine, not the spectacle. Campbell carries the film with controlled intensity; she's not a superhero, she makes mistakes, she gets hurt, and she keeps going. That's more interesting than invincibility.

Gavin Polone is a Hollywood anomaly — a producer-turned-director known as the "Dark Prince of Hollywood" for his willingness to sue studios, speak plainly about industry hypocrisy, and operate outside the sycophantic networks that dominate the business. A longtime columnist for New York magazine and The Hollywood Reporter, Polone has taken shots at both left and right targets in the industry. He exited the WGA. He sued studios. His producing credits include Gilmore Girls, Curb Your Enthusiasm, Zombieland, and The Disaster Artist — a diverse slate without a consistent ideological fingerprint. As a first-time director, he shows restraint and a clear understanding of tension and geography. Nothing about his handling of Psycho Killer suggests ideological agenda.

Andrew Kevin Walker is a genre craftsman who understands moral weight. Se7en is not a nihilistic film — it is a film about what happens when evil goes unpunished and justice is denied. 8MM is a film about the genuine horror of exploitation. Walker's scripts tend to take evil seriously, which is actually a conservative instinct masquerading as darkness. Psycho Killer fits his established pattern.

Trope	Category	Location	Authenticity
Female Protagonist in Traditionally Male Role (Law Enforcement)	WOKE	Core — Jane Archer is a female Kansas patrol officer	Organic — she is a cop, not a lecturer; motivation rooted in love and loss
Husband as Honored Martyr — State Trooper Killed in Line of Duty	TRADITIONAL	Core — drives entire narrative; husband's death is the moral engine of the film	Authentic — portrayed with genuine respect and weight
Law Enforcement Portrayed with Dignity and Moral Purpose	TRADITIONAL	Throughout — Jane's pursuit is framed as righteous obligation	Authentic — the film honors the badge through her grief
Justice-Seeking as Righteous Personal Obligation	TRADITIONAL	Core — Jane's entire arc is a pursuit of justice for a murdered good man	Authentic — ancient storytelling: love, loss, and righteous pursuit
Good vs. Evil Moral Clarity — Evil Punished, Not Explained Away	TRADITIONAL	Throughout — the killer is evil; the film does not rationalize or sympathize	Authentic — Walker's trademark moral seriousness about evil