Spit On Your Grave 3 May 2026

To understand Vengeance is Mine, you have to understand the timeline—which is confusing. The 2010 remake of I Spit on Your Grave starred Sarah Butler as Jennifer Hills, a writer who is brutally assaulted and left for dead, only to return with ingenious, sadistic traps to murder her attackers. That film was a hit (by horror standards), leading to a direct sequel in 2013, I Spit on Your Grave 2.

However, Spit On Your Grave 3 ignores the second film entirely. Déjà Vu? No. Vengeance is Mine is a direct sequel to the 2010 remake, but with a twist. Sarah Butler returns as Jennifer Hills, but the story jumps years into the future. We find out that after the events of the first film, Jennifer was caught and put on trial. She pleaded self-defense and "temporary insanity," using the psychological damage of her assault as a shield. The jury acquitted her. Spit On Your Grave 3

That acquittal is the launchpad for Spit On Your Grave 3. Jennifer is now a shell of her former self, living under a pseudonym in Los Angeles, attending mandatory therapy, and trying to forget the three men she dismembered. To understand Vengeance is Mine , you have

Years after the events of the first remake, Jennifer Hills is in therapy, trying to move past her trauma. However, she’s still haunted and has become a vigilante—killing men who harm women. When a copycat killer tries to frame her, Jennifer must clear her name while confronting her past. Unlike the first two films (rape-revenge), this one is a psychological thriller / action-revenge hybrid with no new sexual assault of the protagonist. Years after the events of the first remake,

The film’s single greatest asset is Sarah Butler. Returning to the role that defined her career, Butler delivers a performance of coiled, exhausted fury. She isn’t playing a slasher villain or a scream queen; she plays a shattered human being for whom violence is no longer cathartic but compulsory. Her dead-eyed stare in the film’s quieter moments is more unsettling than any torture scene.

Director R.D. Braunstein attempts something interesting: a shift from pure revenge fantasy to a psychological crime thriller. The first two films were simple "rape-revenge" arcs. Here, the question becomes: What happens when the avenger can’t stop? By pitting Jennifer against both new criminals and the law, the film introduces a moral grey area absent in its predecessors. The subversion of the "final girl" into a potential serial killer is conceptually bold.