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Performances are hushed, almost whispery. Miller and Birkner are superb as grieving girls who are smart, curious and increasingly terrified. Broberg brings a witty mix of sinister intrigue as a shattered woman trying to be nice. Only Brodie is allowed to underplay his scenes, which makes him feel like an outsider, even though he was there in the prolog scene. And when the craziness begins to cut loose, everyone becomes more intense, with wonderfully off-handed moments that catch us by surprise.

With each scene, the filmmakers add to the undercurrent of disturbing suspense, deploying little jolts like the discovery of a knife and gun. Meanwhile, the plot continually swerves, keeping us on our toes and making it impossible to predict where it will go next. That said, it never becomes as thrilling as it could have been, veering in yucky directions rather than getting under the skin. There are hints of something much more interesting luring within this story, but the filmmakers prefer to just play with slamming doors and menacing refections.

themes, violence

9.Apr.20

The movie's sleepy rhythm makes it tricky for the actors to add much personality to the characters, as everyone speaks at the same subdued, halting pace. This makes conversations feel rather scripted, always right to the point, even though everyone's being cagey. It's easy to identify with Jackson's Simon as he struggles to respond to Danny's evasive account. Otherwise, the actors are likeable but one-sided, purely good or evil. Only Tslaklas' Kyle has an inner conflict, but he never quite grapples with it.

This is essentially a hyper-cautionary tale about the dangers of sexuality, online dating, drug use and porn. Schwab isn't interested in exploring these important themes, instead using them as simplified plot elements. Where the story goes is darkly sinister, and the approach is so specific that it begins to feel like a public service announcement, painstakingly staged to deliver its message while allowing no room for thought or discussion. And the lack of earthy realism undercuts both the suspense and the emotional kick the twisty finale strains to deliver.

themes, language, violence, sexuality, drugs

20.Apr.20

The acting is unusually strong for a movie like this, nicely understated and realistic even as events unravel. Betham has terrific presence, a feisty young woman who won't let a man push her around. She has steely energy opposite Toran, Lowdermilk and Caudell as backwoods maniacs. Thankfully, they put some complexity into their roles as true believers who justify their crimes. Smith has the other strong role as the nosey cop, while Taylor-Compton and Allbright get to shine later on as things get much more heightened.

The film is packed with genuinely gruesome elements, often playing with religious imagery. The script cleverly frames this as an inverted battle between good and evil, with the Christians as the murderous villains. And they're beginning to believe that their victims are coming back to haunt them. Where all this goes is twisty, deliberately disturbing and also fiendishly entertaining. If the script had mined some deeper resonance from its inventive premise, it might have become a cult classic.

themes, language, violence

13.Apr.20