“Buddy,” a new horror film directed by Casper Kelly, explores the dark underbelly of children’s television through a blend of gore, humor, and unsettling twists. The film, which runs for 95 minutes and is rated R for graphic violence involving child characters, has recently opened in theaters.

The story centers on Buddy, a bright orange, one-horned unicorn beloved by young audiences on a fictional 1999 TV show called "It's Buddy!" Voiced by Keegan-Michael Key, Buddy initially appears as a cheerful, giggling character whose infectious spirit delights his child co-stars. However, the film quickly reveals a far more sinister nature beneath Buddy’s friendly exterior—he is a predatory creature who hides a monstrous appetite.

The narrative unfolds through the perspective of Freddy, portrayed by Delaney Quinn, and his fellow children as they confront the disturbing disappearance of one of their friends. When they discover a book smeared with a suspicious red substance in the trash, they question whether it is blood or just paint, to which Buddy responds with unsettling nonchalance.

As the illusion of the safe, playful environment disintegrates, the story shifts from the in-show universe to the real world. Gracie, a suburban mother played by Cristin Milioti, experiences growing suspicion that she and her husband, portrayed by Topher Grace, may be harboring a dark secret related to their child—knowledge that appears to be tied to Buddy’s malevolent presence.

While the film’s plot includes some logical inconsistencies and leaves certain thematic elements underdeveloped, it presents a unique fusion of horror and satire. Fans of Kelly’s previous work, including his 2014 viral short film “Too Many Cooks,” will likely appreciate this twisted take on familiar television tropes. The film’s production design, led by Anna Kathleen, enhances the chilling atmosphere with a visually distinctive, almost surreal quality resembling a distorted funhouse.

Overall, “Buddy” offers a gory and darkly comedic experience that probes the unsettling intersection of childhood innocence and underlying menace, positioning itself as a notable entry in contemporary horror cinema’s exploration of media and perception.