Greetings again from the darkness. We should all be so fortunate to have a friend as loyal as Leslie, and we should strive to be wiser than Kate so that we don’t ever have the need to test that friend’s loyalty. Director Michael Pearce (ENCOUNTER, 2021) is working with a script from screenwriter Brad Ingelsby (the excellent “Mare of Easttown”, OUT OF THE FURNACE, 2018), and a superb cast to deliver a thriller that offers both familiar territory and twists and turns in a film that is ultimately relatively entertaining to watch.
The film opens with a stunning overhead shot of a lifeless body floating in the middle of a tree-lined lake. We don’t know who it is or the story of how it got there. Oscar winner Julianne Moore plays Kate, still in a grieving funk nine months after a tragic accident killed her wife Patty (Kristina Valada-Viars, “Chicago Med”), who is seen only in flashbacks and heard on saved voicemails. Kate manages to crawl from bed each morning and do just enough to keep her horses alive on the farm where her business is giving riding lessons. Since she’s cancelled most of those lessons, she must grovel to her ex-husband (Kyle MacLachlan) so she can fix the sagging roof on her barn. The two argue about money, her state of mind, and their daughter … whom dad describes as “sick”.
It doesn’t take long for us to understand how all the pieces of their argument fit together because daughter Claire (Sydney Sweeney, “The White Lotus”, “Euphoria”) shows up at the farm, and we learn that her mother Kate is the ultimate example of an enabler. Claire has a long-standing drug problem as well as the corresponding mental issues. She knows her mother can be manipulated into doing just about anything for her. It doesn’t take long for a couple of other players to enter. Ryan (Edmund Duncan) is Claire’s drug-addled boyfriend, and Jackie (the ubiquitous Domhnall Gleeson) is their compelling drug dealer … one who is out about ten grand due to the idiocy of Claire and Ryan.
Once the dynamics are in place, the twists and turns begin – none of which will be detailed here. You should know that it’s all pretty suspenseful provided you are able to overlook a bit of creative stretching from a storytelling perspective. Fiona Shaw plays Kate’s bestie Leslie (as mentioned in the opening paragraph), and what comes across clearly here is that this group of actors definitely elevate the material to the point where we actually care what happens to Kate, Claire, and Leslie. Ms. Moore excels in her grief, in her role as (overly) dedicated mother, and as a shrewd independent. Ms. Sweeney goes against her usual glam role and flashes some pretty impressive emotional range, while Mr. Gleeson nails the opportunistic drug dealer. It’s kind of hard not to notice that the males in the story are all various shades of scumbags, save for the detective near the end.
Cinematographer Benjamin Kracun (PROMISING YOUNG WOMAN, 2020) manages to capture both the beauty of the setting and the intensity and emotion of the personal interactions. Composer Jed Kurzel (SLOW WEST, 2015; THE BABDOOK, 2014) takes a unique approach to the score, preventing it from sounding like most suspense films. It seems probable that Mr. Ingelsby writing and Mr. Pearce’s directing would have been better served in a limited series … although this outstanding cast might not have happened. I found the film’s ending somewhat less than satisfying, yet overall the entertainment value was fine.
The film will premiere globally on AppleTV+ on June 13, 2025
Posted by David Ferguson 
Greetings again from the darkness. It’s all in the terminology you opt to use. Secret rescue mission or kidnapping. Protective or paranoid. Alien invasion or mental illness. By opening on a meteor flashing across the night, and following that with National Geographic-style shots of bugs in nature, parasites attacking hosts, and news clips of violent rioters, we can’t help but assume that writer-director Michael Pearce (BEAST, 2017) and co-writer Joe Barton want us to believe the end is near.
Movie Reviews from the Dark 