By Ben Wright (@Iamzavagno | www.xgeeks.co.uk)
This review is spoiler-free.
Curry Barker is very quickly becoming one of the most exciting names in modern horror. After the success of Milk & Serial, which showed just how effective Barker could be with stripped-back, uncomfortable horror storytelling, it always felt like bigger studios were going to start paying attention sooner rather than later. Sure enough, Jason Blum and Blumhouse Productions came calling, and what Barker delivers with Obsession is a nasty, uncomfortable little horror film that really confirms he is a filmmaker worth keeping an eye on.
Before getting into the film properly, though, it is probably worth mentioning that Obsession deals with some pretty heavy subject matter. This is not the sort of horror film you casually throw on with popcorn, expecting a fun, spooky time. It gets intense, properly uncomfortable in places, and there are scenes that will absolutely hit some viewers harder than others. If themes around manipulation, coercion, and psychological abuse are likely to affect you, I would honestly recommend checking content warnings beforehand.
The story feels like a modern spin on a Monkey’s Paw type setup. Bear has feelings for Nikki, but there is that awkward uncertainty hanging over everything, wanting somebody more than they may want you back. Things spiral after Bear makes a wish using a strange “wish stick”, and from there the film slowly turns into this really uneasy nightmare about obsession, control, and the danger of getting exactly what you thought you wanted in the first place.
The opening act takes a little while to settle in, and I do think the pacing drifts slightly early on. But once the film finds its groove, it really does not let up much at all. The tension just keeps building, and even the quieter scenes start feeling uncomfortable after a while. You are constantly waiting for something to go wrong, and most of the time, Barker manages to stretch that feeling out far longer than you expect.
Honestly, “uncomfortable” is probably the best word for the entire film. Yes, there is gore, blood, and some genuinely disturbing imagery, but the horror mostly comes from behaviour, tension, and the way scenes are allowed to breathe for just a bit too long. There were moments where nothing particularly horrific was even happening, yet the atmosphere and performances still made my skin crawl.
One thing Barker already seems to really understand as a filmmaker is how important the camera itself is to horror. The blocking throughout the film is incredibly well thought out, and alongside cinematographer Taylor Clemons, he creates shots that feel invasive without screaming for attention. There are moments where your eye gets drawn towards details you almost wish you had not noticed. Some shots genuinely stayed stuck in my head afterwards.
As bleak and disturbing as the film gets, though, there is also a really dark sense of humour running through it. Thankfully, the comedy never feels forced or out of place either. If anything, it sometimes makes scenes feel even more awkward because you catch yourself laughing right before the film makes things horrible again.
A huge reason why all of this works so well is Inde Navarrette. She is incredible in this. Once the story shifts after the wish, her entire energy changes in a way that becomes genuinely unnerving to watch. Even little expressions or the way she delivers certain lines become unsettling. It is a really committed performance and one that feels like it is going to stick with people for quite a while after seeing the film.
At the same time, though, Michael Johnston is just as important to why the film works. His performance balances things out perfectly against Navarrette’s much more overpowering presence. What I liked most was that the film never treats Bear as completely innocent, either. In another version of this story, he would just be the sympathetic victim. Here, it is messier than that. His own selfishness and emotional immaturity play a huge role in what happens, and the film knows it. That moral grey area makes everything feel even more uncomfortable because nobody really comes out of this feeling entirely clean.
Cooper Tomlinson, Curry’s long-time creative partner, and Megan Lawless also do strong work in the supporting roles, helping the friendship group feel believable rather than just there to move the plot forward. The shifting relationships between everyone before and after the wish help sell how quickly things start falling apart.
This is not a perfect film. The first act could probably have been tightened up a bit, and there are moments where Barker maybe pushes the discomfort slightly too far just because he can. But honestly, I would still take a horror film like this over something safer and more forgettable any day.
More than anything, though, Obsession feels like proof that Curry Barker can absolutely make the jump from online horror creator to theatrical filmmaker without losing what made his earlier work special in the first place. And with Anything but Ghosts (2027) already lined up alongside Bryce Dallas Howard, plus reports linking him to a future The Texas Chain Saw Massacre project, it really feels like he is only getting started.
Deeply unsettling, emotionally draining, visually striking, and carried by a performance from Inde Navarrette that people are going to be talking about for a long time, Obsession is a horrible nightmare in the best possible way. Gory, darkly funny, and genuinely unnerving, this is not an easy watch, but it is definitely a memorable one.
X-Geeks 