THE WOMAN IN THE WINDOW (2021)

May 13, 2021

Greetings again from the darkness. Agoraphobia (the fear of leaving one’s home) has been the topic of a few films over the years, but for whatever reason, none of them have really clicked. Of course, director Alfred Hitchcock brilliantly used a wheelchair-bound James Stewart to create his tension-packed classic REAR WINDOW (1954); however, there’s a psychological difference in being stuck at home due to injury, and being mentally and emotionally unable to bring yourself to walk out the front door due to anxiety and fear. Controversial author/editor AJ Finn (pseudonym of Dan Mallory) wrote a 2018 best-selling debut novel around this affliction, and now Tracy Letts has adapted the novel for the screen and director Joe Wright (DARKEST HOUR 2017, ATONEMENT 2007).

Amy Adams stars as Anna Fox, a child psychologist suffering from agoraphobia after a horrible car accident. She never leaves her Brownstone. She has groceries and prescription drugs delivered to her door, and conducts business over the phone. She has also mastered the internet and memorized dialogue from numerous classic films. Anna also spends an inordinate amount of time spying … um, observing … her neighbors through the window. Anna has a pet cat, and also a tenant living in her basement. We don’t learn much about David (Wyatt Russell) until later in the film.

The story is broken down by the days of the week, and begins with Monday when Anna meets Ethan (Fred Hechinger), the son of the Russells who just moved in across the street. On Tuesday, Anna meets the character played by Julianne Moore, and the two have a chat about her son Ethan, in addition to bonding over wine … a beverage of frequent choice for Anna. On Wednesday and Thursday, all heck breaks loose as Anna hears a scream and witnesses a stabbing in the home of her new neighbors. The cops don’t believe her and Ethan’s dad, Alistair Russell (Gary Oldman), shows up accusing her of lying, boozing, and hallucinating on prescription drugs. It’s not a pretty sight for Anna.

The first hour does a nice job of setting the scene for Anna and her struggles, plus creating confusion and misdirection on what she’s experiencing and “seeing” in regards to the situation in the Russell home across the street. We get a feel for the strange dynamic with David, the phone calls with her husband Ed (Anthony Mackie), and her therapy sessions with Dr. Landy (screenwriter Tracy Letts). It’s really Act 3 where things went off the rails for me. It seemed there was an attempt to cram too much into too short of time. The ending is clear and helps us make sense of everything that has come before; however, it just came across as forced, and out of step with what we had watched in the first hour.

Other supporting roles include Brian Tyree Henry as a Detective, and Jennifer Jason Leigh. In fact, the stellar cast includes two Oscar winners in Julianne Moore and Gary Oldman, a previous Oscar nominee in Jennifer Jason Leigh, and of course, Amy Adams, who has six Oscar nominations. Ms. Adams carries most of the movie with yet another terrific performance, while the others really aren’t given much to do. It’s rare for me to say this, but I believe the material would have been better served as a two- or three-parter, rather than a relatively short movie. It was initially delayed in 2019 for re-shoots and a re-edit, and then again in 2020 due to COVID. I might have been somewhat disappointed in the final project, but I suspect this will be hugely popular on Netflix.

Premieres on Netflix on May 13, 2021

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Posted by David Ferguson

PROFILE (2021)

May 13, 2021

Greetings again from the darkness. French journalist Anna Erelle documented her month-long correspondence with an ISIS terrorist in her 2015 book, “In the Skin of a Jihadist.” Her experience resulted in a fatwa being issued for her … basically an Islamic death sentence on her head. Based on (more like influenced by) Ms. Erelle’s story, writer-director Timur Bekmambetov (ABRAHAM LINCOLN: VAMPIRE HUNTER, 2012) and co-writers Brittany Poulton and Olga Kharina bring us a movie version via computer screen storytelling.

Valene Kane (“The Fall”) stars as Amy Whittaker, a British freelance journalist with a bright idea for an important story. With so many western girls being recruited by ISIS and sold as sex slaves, Amy decides to track down a recruiter and gain intel on how the process works. She does this by creating new Facebook and Skype accounts under the fictitious name of Melody Nelson, an “almost” 20 year old new convert to Islam who just doesn’t fit in to her current world. With the beep of a new post, Melody is contacted by Bilel, a terrorist and ISIS recruiter, whose profile expertly blends cat videos with bombings and beheadings.

Bilel (Shazad Latif, “Star Trek: Discovery”) is handsome and charming. He talks the talk and walks the walk as both a terrorist and man who can seduce vulnerable young women via FaceTime. There is a lot happening on Amy’s/Melody’s screen at any given time. The pop ups come fast and frequently from her hard-nosed news editor Vick (Christine Adams, “Black Lightning”), curious best friend Kathy (Emma Cater), confused boyfriend Matt (Morgan Watkins), and IT specialist Lou (Amir Rahimzadeh), himself the son of a Muslim. As if all that isn’t enough, YouTube videos come and go, and Melody is constantly googling the latest topic of conversation so she doesn’t give away her ruse.

Artistic license is taken with her in-the-moment research and blunders. Although Ms. Kane is strong in the role, Amy never comes across as a professional journalist on a job. She does, however, expertly play to the stresses – rent due, concerned boyfriend, social commitments, dual personas, work deadlines, and the social media chaos that comes with flirting with terrorists or “making friends with jihadists”. It’s just impossible to imagine a job like this wouldn’t find all parties better prepared and protected.

Still, the reality of young women being seduced and recruited by terrorists is quite real, and this should generate fear in every parent. I kept thinking “that wouldn’t happen”, all the while my stomach churned with the tension. It’s the reality of the threat that creates the fear, but director Bekmambetov effectively uses the online interactions to create a current and urgent scenario.

In theaters on May 14, 2021

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Posted by David Ferguson

RIDERS OF JUSTICE (2021)

May 12, 2021

Greetings again from the darkness. Carl Jung coined the term synchronicity to describe occurrences that appear related, yet lack a clear connection. Writer-director Anders Thomas Jensen (Nicolaj Arcel is credited with the idea) starts us off with a slew of coincidences: Mathilde’s bike is stolen, her dad calls to say his military assignment has been extended, her mom decides they should take the train to town, a man surrenders his seat to Mathilde’s mom, a passenger throws away his sandwich while getting off the train, a bomb derails the train after that stop, a key witness in a criminal trial is killed, and the man who gave up his seat is a probability expert who begins assembling the pieces before going to Mathilde’s dad to present his case. Were these coincidences related or is it possible meaning is being found where none exists?

Mads Mikkelsen stars as Markus, who returns home from military service to care for his teenage daughter Mathilde (Andrea Heick Gadeberg) after the train wreck killed his wife/her mother (Anna Birgitte Lind). The problem is that Markus is a no-nonsense man who deals with his grief by not dealing at all … except for guzzling beer and slapping Mathilde’s boyfriend. Markus is a different look than what we usually get with Mads. His tussled hair has been sheared and he sports a full beard. He’s a combustible man about to burst with pent-up aggression, which makes him especially accepting to the theory he’s about to hear.

Otto (Nikolaj Lie Kass) is the statistical analyst who gave up his seat on the train. His partner Lennart (Lars Brygmann) is a brilliant man, likely on the spectrum, while Emmenthaler (Nicolas Bro) is an obese loner and computer whiz. This trio reminds of The Lone Gunman from “The X-Files”, and add a dash of dark comedic flair to an otherwise weighty and somber affair. Soon joined by Bodashka (Gustav Lind), a victim a human trafficking, this is a team of flawed and damaged individuals, each dealing with their own personal baggage – while focused on Markus’ obsession with vengeance.

The titular Riders of Justice are a criminal gang whose leader was set to go on trial. The key witness died in the train wreck, kicking off the domino effect for Otto’s theory and Markus’ path of wrath. Can the series of coincidences be mathematically explained, and if so, can this group of overly intelligent, geeky misfits lead the vengeance-seeking husband down the path of vigilante justice?

Filmmaker Jensen nicely balances the moments of extreme violence with the Brainiac segments so that we can easily follow what Markus is doing, and why. The group therapy has us questioning if life can be mathematically predicted, or if coincidences are simply that. Other supporting work comes from Roland Moller and Albert Rudbeck Lindhart, but as you might expect, it’s Mikkelsen who captivates on screen. He’s not skilled as a cuddly parent, but his military training suits this mission. Were this to receive a U.S. remake (hopefully not), we could expect Liam Neeson or Denzel Washington as obvious choices for the lead.

NY & LA theaters May 14th, 2021 and everywhere May 21st, 2021.

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Posted by David Ferguson

THE DJINN (2021)

May 12, 2021

Greetings again from the darkness. Some of the best horror films are low-budget affairs, and David Charbonier and Justin Powell fully embrace this concept. As with their previous collaboration (THE BOY BEHIND THE DOOR, 2020), the production company partners are co-writers and co-directors on this latest – an effective “legend” thriller that plays like a live-action campfire story.

Ezra Dewey stars as 12 year old Dylan Jacobs, a mute boy who moves into an apartment with his dad (Rob Brownstein) after a tragic incident on “a quiet summer night in 1989” leaves Dylan without a mother. Dad works the graveyard shift as a disc jockey, so Dylan is left alone their first night in the new place. Dylan discovers a leather-bound “Book of Shadows” in the closet. Left behind by the previous owner – an old man who died in the place – the book has a chapter, “Wish of Desire”, which especially appeals to Dylan, who would love to have a “voice”.

As one would expect from a 12 year old, and just about anyone at any age, he doesn’t read the fine print in the book, and immediately prepares to perform the spell. All he needs is a couple drops of blood, some candles, a clock and a mirror. The only question is whether the spell will work with sign language. By this time, we’ve also learned that a previous lung operation has Dylan dependent on his inhaler when he’s stressed – something we horror fans recognize is going to happen not long after he lights that candle.

Of course this is no genie-in-a-bottle granting wishes. Nope, Dylan soon learns it’s a supernatural being that takes the form of those already dead – some Dylan recognizes and some he doesn’t. The Djinn is the “guardian of the shadow realm” and the challenge for Dylan is to stay alive until midnight while the entity tries to end him. What makes the film click is the performance of young Ezra Dewey. He carries the film on his back while, obviously, dialogue is not an option. Having a clever and quick-thinking young protagonist gives us someone to root for. The filmmakers wisely stage this confrontation within the confined space of this small apartment. DP Julian Estrada does excellent work and never resorts to trickery – we understand the floorplan and always know where Dylan is at any moment.

The 1980’s vibe is present via a boom box, phone cord, TV with antennae, dad’s pager, and composer Matthew James’ synth score. There is also the interesting contrast of Dylan’s inability to speak, and the Djinn spending much of the time without sight. The filmmakers take a simple approach to the story (the legend) and let Dylan fight his way to midnight as we squirm (and yes jump a couple of times). It’s a brisk 80 minute runtime and one that most horror film fans will appreciate, despite the cruel twist.

Opening in select theaters and VOD on May 14, 2021

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Posted by David Ferguson

WRATH OF MAN (2021)

May 6, 2021

Greetings again from the darkness. Cinematic Alert: Guy Ritchie has gone straight! That’s right, the filmmaker we’ve come to bank on for dynamic action, creative editing, and clever, rapid-fire dialogue laced with dark humor and outright hilarious, offbeat moments, has delivered a straightforward, by-the-book revenge-crime thriller. Of course, despite it being about as good as anything else in the genre, we just can’t help but feel a little (and maybe a lot) disappointed that Ritchie has shifted his approach and left us wondering why. After all, he’s the genius behind THE GENTLEMEN (2019), SHERLOCK HOLMES: A GAME OF SHADOWS (2011), and SHERLOCK HOLMES (2009), as well as his brilliant first two films: LOCK, STOCK, AND TWO SMOKING BARRELS (1998) and SNATCH (2000).

The film opens with an armored vehicle heist that ends in gunfire. This heist and the crew of criminals are the key to the story, and Ritchie utilizes his non-linear, multiple perspective story-telling technique to fill in the gaps for us and provide context to everything else that unfolds. Needless to say, there’s more to this heist than what we initially witness. Jumping ahead a few months, the next thing we see is Jason Statham as the mysterious “H” joining Fortico, the cash truck/armored vehicle company victimized in that early sequence. H is clearly wound tightly and not great at making friends … at least until his heroics thwart another attempted robbery and saves the lives of co-workers Bullet (Holt McCallany) and Boy Sweat Dave (Josh Hartnett).

H’s motivation is slowly revealed, as is the fact that he’s not such an outstanding citizen himself. However, it’s clear his mission of revenge is the most important thing in his life, and he’ll stop at nothing to get the person he’s after. His target is part of a criminal team of former military buddies that include Jackson (Jeffrey Donovan), Ian (Scott Eastwood), Brad (Deobia Oparei), and Sam (Raul Castillo), who want nothing more than one huge score so they can walk away and enjoy life. Other key members of Fortico’s staff are played by Niahm Algar, Eddie Marsan, and Rob Delaney. H’s contacts are played by Lyne Renee, Darrell D’Silva, and Andy Garcia, while singer Post Malone (billed as Austin Post) makes an appearance as a robber.

Filmmaker Ritchie is working with many of his regular collaborators. He co-wrote the screenplay with Marn Davies and Ivan Atkinson, and it’s based on the 2004 French movie, LE CONVOYEUR (“Cash Truck”) by Nicolas Boukhrief, Eric Besnard. Others from his usual team include cinematographer Alan Stewart, composer Christopher Benstead, and editor James Herbert. It’s not unusual to find Jason Statham bring his action expertise to a Guy Ritchie crime movie, but Statham really plays it straight here as he sets out to settle a score. The almost non-existent wise-cracking leaves us feeling a bit adrift due to expectations, but the result is a fine, action-packed movie with one excessively long shootout near the end. Ritchie has certainly earned the right to make the movies he wants, but in the words of main character H, “I do bear a grudge.”

Opens in theaters on Friday May 7, 2021

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Posted by David Ferguson

LOCKED IN (2021)

May 6, 2021

Greetings again from the darkness. The first feature film from writer-director Carlos V Gutierrez is a B-movie thriller with the rare cinematic setting of a self-storage facility. Now you might think corrugated metal doors on rollers and concrete walkways don’t add up to an exciting and picturesque filming location, and, well, you’d be right. However, Gutierrez uses the security cameras and maze-like corridors to generate some suspense, and he benefits from a cast that draws out every possible ounce of tension from the script.

Mena Suvari (from Best Picture winner AMERICAN BEAUTY, 1999) stars as Maggie, an employee at the storage facility, and mother to teenage daughter Tarin (Jasper Polish, THE ASTRONAUT FARMER, 2006). Mother and daughter are living in a rundown motel, and are about to be evicted due to non-payment. There is some family baggage here, as the husband/father is in prison, and Maggie is focused on finding religion to get beyond her checkered past. The last thing she needs is a night like she’s about to experience.

Bruno Bichir (younger brother of Oscar nominated Demian Bichir) plays Lee, Maggie’s boss who expertly plays the nice guy, while being a bit too obvious at keeping his own dark secrets. The film opens with the tail end of a diamond heist by two masked men, one who has an overactive trigger finger. Of course, the two thieves have a tie to Lee, and things go sideways quickly. Maggie and Tarin are trapped in a game of cat-and-mouse, and they don’t initially understand why. Multiple bad guys enter the picture, and Maggie leaps into protective-mother mode while dealing with Ross (Manny Perez) and Mel (Jeff Fahey), the masked men from the diamond heist. Fahey is always a fun bad guy to watch, and this time is no exception. Soon, a third party enters the scene – Harris (Costas Mandylor from the “Saw” franchise), creating an even more tangled web of deceit and danger.

The film leans a bit heavy on crying and tough guy posturing, but it also makes clever use of the security cameras, the stark corridors, and even candy wrappers. The movie succeeds at being what it is: a creative low-budget thriller with an entertaining cast.

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IN THE EARTH (2021)

April 29, 2021

Greetings again from the darkness. Have you ever wondered why they warned concert attendees to stay away from the brown acid at Woodstock? I can only speculate, but I assume the poor souls who consumed the taboo drug experienced hallucinations not dissimilar to watching this latest from writer-director Ben Wheatley. Filmmaker Wheatley previously delivered such interesting and diverse fare as the intriguing horror film KILL LIST (2011), the confusing and bizarre HIGH-RISE (2015), and my personal favorite of his, the quite funny and action-packed FREE FIRE (2016).

Martin Lowery (Joel Fry, YESTERDAY, 2019) is sent to track down a doctor whose research may provide desperately needed help in fighting a virus that has wreaked havoc on the human race. Martin himself has been in isolation for four months prior to this mission. He teams up with Alma (Ellora Torchia, MIDSOMMAR, 2019), a Park Ranger who works out of a Lodge that has been closed for a year due to the pandemic. She will act as his guide on the 2 day hike through the dense forest to find the doctor.

As you would expect, the hike doesn’t go smoothly, and things turn very weird and dangerous when Martin and Alma cross paths with Zach (Reece Shearsmith, HIGH-RISE, 2015). He’s the ex-husband of Dr. Wendle, the one Martin and Alma are in search of. However, Zach is off the grid and off his (proverbial) rocker. He converses with the forest, which might possibly be his most normal action.

Dr. Olivia Wendle (Hayley Squires, I, DANIEL BLAKE) is finally located, and though she and Martin know each other, she seems quite intent on finishing her research in the forest. Back at the Lodge, Alma had filled Martin in on a local folk tale … the Spirit of the Woods, named Parnag. Most just call it, “the thing in the woods.” Are we to believe nature is evil, or is nature just fighting back against humans?

Written by Wheatley last year, the film shows the effects of a pandemic on some people and how trying to solve things through science may fall short. Paranoia, distrust, dread, and isolation from others are all at play here – and quite in line with our current state. A supernatural element hovers, but the psychedelic images keep us disoriented, and seem to exist for the sole purpose of visual effects. The strobes are so strong they could trigger responses from sensitive viewers, and if they don’t, the gore likely will. Cinematographer Nick Gillespie and composer Clint Mansell are standouts here, and though Wheatley is to be commended for his quick work, the film didn’t really click for me. Perhaps the two best comparisons are THE HAPPENING (2008) and the far superior ANNIHILATION (2018).

In theaters April 30, 2021

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Posted by David Ferguson

THE VIRTUOSO (2021)

April 29, 2021

Greetings again from the darkness. It seems to this casual observer that once a person makes the career decision to become a hitman (or hitwoman or hitperson), their life expectancy drops significantly, as does their willingness to trust any person they meet, or at least it should. After all, the industry of killing is all about death … it’s simply a matter of whether (this time) you are the one doing the killing, or the one being killed. This neo-noir comes courtesy of writer-director Nick Stagliano (his first feature film in 10 years) and co-writer James C Wolf.

Anson Mount (so good in the “Hell on Wheels” TV series) is the titular Virtuoso. In typical noir fashion, he’s also our narrator, and serves up a detailed explanation of his approach to the profession. He’s methodical and meticulous in his precision and planning, and goes about his business in a professional manner, while maintaining a low profile and adhering to his own code. He even practices his facial expressions in the mirror preparing for the rare social interaction (it’s funnier than it sounds). He does jobs for The Mentor (newly crowned Oscar winner Anthony Hopkins), a former military friend of his dad. Their minimal communication usually involves a name on a scrap of paper. The first job we witness is a “rush” job and collateral damage leaves Virtuoso burdened with guilt – something that is not an asset in this line of work.

It’s the second job that takes up most of the run time. The Mentor provides only “White Rivers” as a hint to the identity of the target, and instructs him to be at the only diner in a place that barely exists as a town. Walking in, he sizes up those in the diner: The Waitress (Abbie Cornish, excellent as Fanny Brawne in BRIGHT STAR, 2009), The Loner (Eddie Marsan, “Ray Donovan”), Handsome Johnnie (Richard Brake), and Johnnie’s Girl (Diora Baird). A bit later, the local Deputy (David Morse) is added to the list of possible targets.

The set-up is fun, and meant to keep us striving to stay one step ahead. Chris Perfetti adds a touch of humor in his two quick scenes as the motel desk clerk, and much of the tete a tete comes courtesy of the Virtuoso and The Waitress. Of course as with most noirs, we viewers figure out what’s going on long before the hero, as the distractions are many. The budding romance offers up some seedy motel lovemaking, and the Virtuoso has an unusual living arrangement in his cabin in the woods. In other words, there are some excellent elements in play here, and it’s difficult to pinpoint why the film doesn’t play a bit better than it does. Mostly it just lacks the suspense delivered by the best in the genre.

Streaming on Digital, On Demand

& Limited Theatrical Release on April30th in Dallas

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Posted by David Ferguson

DEADLY CUTS (2021, Ireland)

April 15, 2021

Greetings again from the darkness. If we have to depend on Dublin filmmaking for the year’s first stellar comedy, then so be it. This is the first feature film from writer-director Rachel Carey, but it certainly won’t be the last. Somehow she’s created a black and blue comedy that plays like a mash-up of ZOOLANDER (2001) and BLOW THE MAN DOWN (2018), two films I feel sure had not previously been mentioned in the same sentence.

Piglinstown is a small, working class community in Dublin … the metaphorical ‘other side of the tracks’. Michelle (Angeline Ball, THE COMMITMENTS, 1991) runs the salon, and is just one of the local business being threatened by gang activity and gentrification driven by greedy politicians. Michelle’s staff includes Stacey (Erika Roe, HERSELF, 2020), a stylist who believes winning an upcoming competition can not only save the salon, but also her dreams of finally being accepted by the mother that deserted her many years ago; Gemma (Lauren Larkin), the in-house amateur psychologist and therapist; and Chantelle (Shauna Higgins, “Red Rock”), a socially awkward wizard with hair color. It’s a motley crew of women who are stronger than they think, and display a camaraderie that defines small business and small towns.

The ladies embrace the upcoming “Ahh Hair” competition as their road to salvation, where a win would boost the salon’s reputation and make tearing the shop down for luxury apartments an unthinkable act. The problem is that the annual competition is consistently won by the posh shop where Michelle once worked before a catastrophic on stage occurrence many years ago. The high end shop is now run by her hilariously intimidating rival Pippa (Victoria Smurfit, “Marcella”). This becomes a bit of a parody of class distinction between Dublin’s north and south side.

But there is much more here than the hair styling competition. Some of the grit of the working class rears its head one evening when the gang leader threatens the ladies of the salon. One thing leads to another and soon the shop has earned its name, “Deadly Cuts.” Although crime and violence play a role here, the gore is minimal and mostly occurs off screen, and even packs its own level of humor. Ms. Carey loads up her script with a slew of one-liners, each expertly delivered by a cast that embraces the cinematic lampoon. “The hair tongs are heating up” is merely one example of what is broadcast by FAD TV during the competition. For a rollicking good time, check this one out … though you may need the closed captions unless your ears are in full Irish mode.

Featured at the 2021 Seattle International Film Festival

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Posted by David Ferguson

HELD (2021)

April 9, 2021

Greetings again from the darkness. Co-directors Travis Cluff and Chris Lofing previously collaborated on the horror film, THE GALLOWS (2015), and this time they are working from a script by Jill Awbrey, who also stars. It’s Ms. Awbrey’s first feature film as a writer or actor. Most people agree that marriage can be challenging, but this one introduces thrills and chills into a relationship that’s already navigating in choppy waters.

Writer Awbrey (a Julie Harris lookalike) plays Emma Barrett, who we see in an early flashback as a young woman trapped in a car with two men. We don’t see it, but we know what’s about to happen against her will. Today’s Emma is then seen again in the backseat … as her Uber driver (Rez Kempton) asks inappropriate questions, and comes across more than a bit creepy as he notes the remoteness of her drop-off and pressures her for a bonus tip. These two scenes remind us of how women must always have their defense mechanism on high alert around men.

Emma and her husband Henry (Bart Johnson, HIGH SCHOOL MUSICAL) have set up a rendezvous to see if they can rekindle what’s waning between them after 9 years of marriage. We get an aerial view of the ultra-modern and ultra-smart house stuck in a cornfield miles from civilization. The terror and mystery begin the next morning when Emma and Henry wake up in different clothes and with missing phones. A “voice” tells them that the secrets of their marriage are no longer secret, and they must “obey”. If not, the implanted sensor behind their ear will act as a shock collar, causing extreme discomfort and pain. Emma and Henry both experience this the hard way.

The film appears to be a VRBO home invasion movie wrapped in the contemporary issue of surveillance and security. However, that’s only part of the story. The “voice” is pushing the couple into a 1950’s version of THE STEPFORD WIVES, replete with veggies in the fridge, modest wardrobes in the closet, and an apron for Emma. She is being coerced into acting like a submissive wife, as if anyone today still fantasizes about a 1950’s marriage. It’s disturbing to watch as Emma and Henry try to find a way to escape, while not triggering another jolt of pain, and complying with commands from the voice (who seems to be Jigsaw from the SAW series transformed into a marriage counselor).

The objective here seems to be as satire and commentary on male privilege in a male-dominated society … one where women always carry a bit of fear, despite being so much stronger and forceful than what we saw in 1950’s TV series. That traditional marital structure no longer exists, but when combined with a luxurious smart house, does make for an interesting premise in the horror-thriller genre. When save-the-marriage transitions to survival mode on top of fear of being watched and manipulated, the terror is palpable. The only frustration is that so much more could have been done, over and above the twist. Despite the lags, the film does provide ‘talking points’.

In theaters and On Demand April 9, 2021

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