There’s always a film that brings the house down with energy and cheers during TIFF’s Midnight Madness program. Last year, Kenji Tanigaki’s The Furious (2026) absolutely roared through the audience. So far at this year’s TIFF, Nick Kozakis’s third feature, Kick On (2026), has come close to recreating that electrifying feeling. Following a group of young people led by Markella Kavenagh looking to score before continuing their night of partying, Kick On is easily the bloodiest film on the Midnight Madness slate this year. 

The film’s premise is cut and dry, not overthinking itself or trying to be anything more profound than it is. It opens with our main characters getting kicked out of a club and trying to continue their evening despite it. A seemingly simple task, no? As they enter the sketchy apartment and the stakes rise, though, so does the tension. To the film’s benefit, Kozakis understands what the audience wants but delays the bloody relief. When he finally hits the gas, the film roars to life.

Kick On is narratively similar to Jeremy Saulnier’s Green Room (2015), but also has hints of the Evil Dead franchise and other similar films littered throughout. It clearly draws on other horror titans but brings an alternative flair that sets it apart. Instead of a traditional score backing the mayhem that ensues, EDM or metal backs the bloody shotgun blasts, gashes, and slices. This echoes the John Wick films while still letting the film keep its own identity. Like those films, it places heavy emphasis on practical effects, which makes everything feel even more real. Especially in an age where CGI (and lately generative AI) is a quick way to cop out and cut corners, it’s always refreshing to see practical effects. 

As bloody as Kick On gets, it’s still a massive feat in terms of action filmmaking. A tight elevator sequence stands out in particular as one of the coolest of the entire festival. Kozakis takes clear inspiration from The Raid and other martial arts films, giving Kick On a pastiche that reminds us what modern audiences love so much about genre filmmaking. The film is bloody, violent, and gory, but its calculated direction gives it body and weight beyond that.

Kick On is easily the best Midnight thus far, and a significant, promising film for Kozakis. He has the passion and drive to bring a fresh voice to the genre while taking the steps to honor where his inspirations come from. A premise as basic as this would typically feel derivative and boring, but Kozakis’s style and influences give the film a distinct identity that sets it apart from his predecessors. Kick On is incredibly promising, an absolute breakout for Kozakis. 

Review Courtesy of Nadia Arain

Feature image credit to Fableist