Watcher stands the chance of becoming a very popular film in the next few years, and as it seeps into the culture, its ability to resonate will only grow.Over the holiday weekend, Dragon Con brought a number of celebrities to Atlanta, Georgia to meet and greet with con attendees. When everyone can bring their A+ game, instead of trying to work in non-sensical twists and turns, it allows a film to succeed where others fail. Telling an honest story with an easy-to-follow narrative allows the team to operate at the highest levels possible. Watcher never pretends to reinvent the wheel, and that’s a good thing. The haunting nature of Nielsen’s lens further enhances the scary-beyond-all-reason sequences in the film. Yet how Nielsen moves the camera and frames, set-pieces opens the door for near-constant scares.
The feeling of paranoia sweeps over the audience, and in many cases, there must be scenes where no one is watching Julia at all. The DP frames Monroe and Gorman to perfection throughout the film, adding tension to sequences with long takes. Just as essential to the film’s tone as Monroe and Gorman’s performance is the terrifying cinematography of Benjamin Kirk Nielsen. His performance is truly one of the most upsetting of the year. The jump from frightening visually to mentally frightening can become complex in films like Watcher, but Gorman succeeds on every level.
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He adds menace because of his physical appearance, but he also knows how to turn up the chilling nature. He can play the chilling stillness of his role with no problem. Gorman once again proves why he’s one of the most underrated actors in the industry. Monroe steps up and proves her considerable acting talent is far from a fluke.
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Without her genuine fear and worrying for her safety, there’s no movie here. Monroe, the star of It Follows) appears game for this challenge. To let us watch her reinvestigation of internal trauma while simultaneously believing there’s a threat against her life, can be unnerving. She opens up with a genuinely internal performance that hits raw nerves at every chance. Her frustration becomes palpable and worrying as the story continues to unfold. Allowing the performers to give it their all allows Okuno to focus on exquisite cinematography and a terrifying score. She succeeds in developing an overall tone of danger, but her actors bring home the pathos. Okuno instead opts for tragedy and realism, creating a grittiness that becomes impossible to look away from. Instead, Okuno’s story of horror, gaslighting, and danger all seem intent on proving the need to believe women. If the film wanted to hide the twists and turns, it would have changed the name to something less obvious. After a figure from the other apartment complex waves at her, Julia begins to fear she is being watched. The house contains ceiling-length windows, allowing Julia to see out with excellent visibility. For Julia, the move pushes her further away from friends and family, while her partner Francis ( Karl Glusman) continues to succeed in his career. The creepy and grounded tale might be evident on its face, but honesty shines through with the frequency that women must hide from scary men.įollowing a couple moving to Bucharest, Watcher follows our young protagonist Julia (Monroe).
, Watcher brings Maika Monroe back to the mainstream. The latest film to join this esteemed sub-genre comes from director Chloe Okuno.
The trope, watching your neighbors until they commit murder, became something of a trope for setting up thrillers. It was not the first voyeuristic film in Hitchcock’s filmography (nor would it be the last), but the thriller in an urban center opened the doors for similar movies. In 1954, Alfred Hitchcock’s Rear Window took the world by storm.
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