Let's Scare Jessica to Death 4K Blu-ray Movie

Rating summary

Movie		3.0
Video		5.0
Audio		4.5
Extras		5.0
Overall		4.5

Let's Scare Jessica to Death 4K Blu-ray Movie Review

Reviewed by Brian Orndorf July 12, 2025

1971’s “Let’s Scare Jessica to Death” is an atmospheric horror film from co-writer/director John D. Hancock (“Bang the Drum Slowly,” “California Dreaming”), who’s searches for ways to keep the picture mysterious and spooky. It’s an admirable attempt to go for a different level of chills, working with technical elements and a semi-improvisational dramatic approach to keep things interesting in a genre that often struggles to provide originality. The actual fear factor of the effort is certainly up for debate, along with its storytelling choices, of which there are few to follow. “Let’s Scare Jessica to Death” (an eye-catching title for sure, but it doesn’t represent the actual tale being sold here) isn’t a commanding genre offering, going a bit more delicate with its understanding of mental illness, though Hancock isn’t completely committed to anything in this semi-tedious, passably interesting feature.

Jessica (Zohra Lampert) is fresh out of a mental institution after a six month stay. She’s returned to the care of her husband, Duncan (Darton Heyman), who’s purchased an old home in rural Connecticut, looking to build a new life with his spouse, while pal Woody (Kevin O’Connor) joins the adventure, planning to take care of the apple trees on the property. Jessica battles the voices in her head, worried about falling back into madness, trying to keep herself straight while meeting squatter Emily (Mariclare Costello), who’s invited to stay at the house. Emily has an unusual energy, which disrupts Jessica’s mental health, leading the new homeowner to believe she’s being haunted by an undefined entity, requiring a deeper inspection into the house’s previous owners to fully understand the threat coming for her.

Jessica receives a blast of freedom at the start of the story, feeling a euphoric rush after being hospitalized for most of the past year. Hancock introduces the character’s inner thoughts to help complicate Jessica’s situation, as she carefully works to enjoy the moment, pushing down the voices in her head as deeply as possible to maintain her liberation. “Let’s Scare Jessica to Death” remains somewhat leisurely as it follows the arrival of Jessica, Duncan, and Woody into town, which is populated with mean old men wrapped in bandages, and they have little patience for the hippie- ish ways of the newcomers. “Let’s Scare Jessica to Death” escalates with the arrival of Emily, who’s welcomed by the homeowners, but for different reasons as Jessica recognizes her appeal to the men in the house.

There’s a perfectly capable creeper in the making during the first act of “Let’s Scare Jessica to Death,” especially when Hancock remains in Jessica’s screaming mind, which she has difficulty silencing as strange visions start to swarm her. There’s even potential in the temptress angle involving Emily, who poses a unique challenge to an already insecure woman. “Let’s Scare Jessica to Death” doesn’t really focus on anything too specific, preferring to wander around visiting story elements, including the history of the house and the tale of Abigail, who drowned in a nearby lake. Hancock aims for atmosphere, presenting lengthy shots of stillness and exploration, putting composer Orville Stoeber to work as he cranks up musical intensity, which has its appeal. And while performances are saddled with wandering dialogue, performances are acceptable, pushing to find feeling and dread in an endeavor that doesn’t reach a fever pitch.

For additional information and analysis, please read the 2020 Blu-ray review.

Let's Scare Jessica to Death 4K Blu-ray Movie, Video Quality 

"Let's Scare Jessica to Death" was previously issued on Blu-ray in 2020 by Shout Factory, and now returns with a new UHD release from Vinegar Syndrome, listed as "presented in Dolby Vision HDR and newly restored from its 35mm original camera negative." Detail is striking throughout the viewing experience, providing a textured look at skin particulars, including makeup effects to depict slashings and scars. Costuming retains fibrousness as period fashion and Victorian dresses are worn. Interiors provide a full tour of decorative choices around living spaces. Exteriors maintains depth, securing distances around the rural setting. Color is alert, with crisp primaries that bring out the redness of wine and blood. Blue clothing and greenery are distinct. Blacks are deep, preserving evening events and shadowy encounters. Highlights are tasteful. Grain is nicely resolved. Source is in good condition.

Let's Scare Jessica to Death 4K Blu-ray Movie, Audio Quality 

The 2.0 DTS-HD MA mix offers clear dialogue exchanges, handling performance choices and inner thoughts, while the definition of it all really identifies extensive ADR work on the feature. Scoring supports with authority, offering sharp instrumentation with piano moods and synth stings, and more percussive elements add some weight to the listening event. Atmospherics are appreciable, along with sound effects.

Let's Scare Jessica to Death 4K Blu-ray Movie, Special Features and Extras 

• Booklet contains essays by Molly Henery, Quatoyiah Murry, and Jason Bailey.

• Commentary features co-writer/director John D. Hancock.

• "A New Medium" (15:19, HD) is an interview with co-writer/director John D. Hancock, who tracks the early development of his career, riding on the success of a short film that took him to the Academy Awards. Hired to make a parody picture titled "It Drinks Hippie Blood," Hancock pushed to change the material, endeavoring to create a scary movie with refined Hitchcock influence, with a side of Polanski. Taking the shoot to Connecticut, the helmer explores casting choices, picking from the theater scene, and directorial challenges are identified as he wanted a loose atmosphere for the offering. The interviewee recalls the opening night showing of "Let's Scare Jessica to Death," receiving an excitable reaction, and the picture's cult longevity is celebrated.

• "The Stars Align" (11:26, HD) is an interview with co-producer Bill Badalato, who was friends with producer Charles B. Moss Jr., happily going along with the man's plans to make a horror movie. Working with a limited budget and shoot days, The interviewee walks through the production experience, hiring co-writer/director John D. Hancock, who had a vision for the endeavor. Casting is highlighted, pulling together a "theater cast" for "Let's Scare Jessica to Death," still happy with the choices after a recent rewatch. Locations are detailed, taking the shoot to Connecticut, handling creative demands with a small "ragtag" crew, and Badalato shares his professional responsibilities. Memories of post-filming dreams are shared, identifying the offering as one that's "ahead of its time."

• "The Sound of Terror" (12:08, HD) is an interview with composer Orville Stoeber, who came from a musical family, with his gifts recognized early. Pursuing an acting career in the 1960s, Stoeber connected to co-writer/director John D. Hancock through theatrical opportunities, eventually leading to a job on "Let's Scare Jessica to Death." This working relationship is detailed, recalling Hancock's involvement in the scoring process during a "simple" time in Stoeber's carer. Creative choices are analyzed, reflecting on themes and mood for the endeavor, turning to synthesizers to generate creepiness.

• "A Haunted Quality" (21:48, HD) is an appreciation piece from writer Stephen Thrower.

• Image Gallery (2:20) collects film stills and publicity shots.

• T.V. Spot (:56, SD) is provided.

• Radio Spot (1:05) offers one commercial for "Let's Scare Jessica to Death."

• And a Theatrical Trailer (3:02, HD) is included.

Let's Scare Jessica to Death 4K Blu-ray Movie, Overall Score and Recommendation 

Hancock tries to add a few interesting interpretative elements to "Let's Scare Jessica to Death," and there's a more defined genre destination for the feature. However, it takes nearly 70 minutes for anything truly physical or defined to occur in the picture, which is a long time to deal with Hancock's vision for ambiguity. He's better off in the depths of a bruised brain than handling a monstrous uprising, and while Hancock tries to play everything with a sense of mystery, managing two ideas for one film doesn't play to his moviemaking strengths.