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Stephen King called it a “clever masterpiece.” Mike Flanagan added, “Sublimely brilliant. You must go in blind.”

Allow me to throw my own stunned support behind the must-see new thriller “Strange Darling,” written and directed by JT Mollner, who is now officially a filmmaking force to be reckoned with in the horror genre.

The film opens by claiming it’s based on a true story of “the final known killings of the most prolific and unique American serial killer of the 21st century.” Films such as “The Texas Chain Saw Massacre” (1974) and “Fargo” (1996) have taught us that this is often apocryphal, but it’s an effective tease as we enter rural Oregon for a one-night stand that goes terribly wrong in the grand finale of a bloody rampage across the Pacific Northwest.

The film works as well as it does because of the complex performances by its two lead actors. Willa Fitzgerald previously starred in Flanagan’s miniseries “The Fall of the House of Usher” (2023) and her performance here is truly harrowing, transcending the label “scream queen” with chilling shrieks. You’ll also recognize Kyle Gallner from the horror flick “Smile” (2022) and here his mustached loner is creepy right from the opening frames.

The coolest casting coup is Barbara Hershey, who had a run of ’80s classics in “The Right Stuff” (1983), “The Natural” (1984), “Hoosiers” (1986), “Hannah and Her Sisters” (1986) and “The Last Temptation of Christ” (1987) before her resurgence in horror films like “Black Swan” (2010) and “Insidious” (2010). She joins Ed Begley Jr. (“St. Elsewhere”) as a nice old couple making Sunday breakfast and doing puzzles before hell arrives at their doorstep.

These actors weave in and out of a nonlinear script brilliantly presented out of order as Mollner intentionally rearranges his scenes to subvert audience expectations. He first drops us into the middle of the story in Chapter 3, then leaps ahead to the penultimate Chapter 5, rewinds back to the setup of Chapter 1, races ahead to Chapter 4, doubles back to Chapter 2, and finally drops the dramatic conclusion of Chapter 6, followed by a brief Epilogue.

The genius fractured narrative is clearly inspired by Quentin Tarantino, right down to catchy titles for each chapter (“Here Kitty, Kitty”). There’s a similar energy to the proceedings, including an enclosed space like the buried-alive sequence in “Kill Bill: Vol. 2” (2004) and a roaring car chase that recalls “Death Proof” (2007). As for the Pacific Northwest setting, I found it to be reminiscent of John Hyams’ underrated thriller “Alone” (2020).

Homages aside, Mollner deserves credit for his own creative voice. He’s a 16-year “overnight success” since his first short film “The Red Room” (2008) before getting the horror rub from Dee Wallace (“The Hills Have Eyes,” “The Howling,” “Cujo”) in his short “Flowers in December” (2015). His feature directorial debut “Outlaws & Angels” (2016) starred Luke Wilson at Sundance, using Kodak film stock and old-school Panavision cameras and lenses.

Similarly, “Strange Darling” rebukes contemporary digital cameras to shoot on 35-mm film for a gritty throwback feel. You’ll be wonderfully surprised by the end credits to see who is behind the camera as actor Giovanni Ribisi (“Saving Private Ryan”) makes his debut as a cinematographer, while also executive producing. Together, Ribisi and Mollner demonstrate a strong visual eye, even in mundane moments such as overhead shots of breakfast plates.

The soundtrack is gloriously mischievous with Z Berg’s female cover of Nazareth’s “Love Hurts” with symbolic lyrics such as “love scars” that are both melancholic and meta considering the male voice on the track is Keith Carradine. Not only did he sing “I’m Easy” in “Nashville” (1975), his brother was the late David Carradine (“Kill Bill”), who had a child with Hershey and whose shocking manner of death hauntingly echos in “Strange Darling.”

If the film has one flaw it’s the late scene of a male cop making misogynistic quips to his female partner, though I suppose the entire film is a commentary on genre and gender, so maybe that’s the point. Driving down the road in the final shot, the color slowly drains from the image like blood draining from a body, but it lasts a little too long before the end credits arrive. The unblinking final gaze of Ti West’s “Pearl” (2022) still takes the cake.

Don’t worry, that’s just some necessary nitpicking by a film critic who has to point out extremely minor issues in order to justify his otherwise overwhelming praise for a vibrant instant classic without simply saying, “No notes.” Without a doubt, “Strange Darling” is one of the best horror-thrillers I’ve seen in years, maybe one of the best that you’ll ever see, and certainly one of the most unpredictable. Ladies and gentlemen, it’s truly electric.

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