Obsession Review: A Darkly Humorous Horror Sensation

      Even if he hadn’t just secured the remake of the Texas Chainsaw Massacre, the name Curry Barker is likely familiar to you. He’s part of the recent wave of former sketch comedians and YouTubers transitioning to horror directing, with an online feature already under his belt. His theatrical debut, Obsession, fully lives up to its title and his potential. Despite its familiar elements, it contains a strong premise that’s eager to develop into something remarkable.

      Obsession presents a gritty, twisted take on The Monkey’s Paw, introducing a unique element: a mysterious charm called the One Wish Willow, which can be found at your local New Age shop. It grants its owner one of their deepest desires when broken in half. The fortunate possessor is Bear (Michael Johnston), an average guy who is infatuated with Nikki (Inde Navarrette), his coworker at a music store. He struggles to muster the courage to express his feelings, leading his best friend and coworker Ian (Cooper Tomlinson, Barker’s partner from their comedy group “that’s a bad idea”) to write him off as hopeless. Even after Nikki bluntly tells him to “shit or get off the pot,” he still cannot take action. If only there were a way to make her love him above all others—perhaps something from the New Age store.

      As wild and discomforting as Obsession gets, it’s less about where the story will lead and more about how it will arrive there. Nevertheless, Barker avoids stalling for time; much of the film explores Bear and his colleagues, including Sarah (Megan Lawless), the owner’s daughter, who may harbor a crush on Bear. Both she and Ian find Nikki’s sudden shift peculiar, worried that Bear could be exploiting her mental breakdown. This narrative twist shows that Barker is mindful of the implications, acknowledging that a different take on this story could evoke disturbing misogyny.

      Instead, Barker highlights that Bear isn’t a great person, despite appearing decent on the surface. Johnston presents an appealing protagonist, which softens the frustration stemming from Bear’s continual avoidance of the obvious situation surrounding him. One tactic he uses to deflect his feelings is calling the company that produces the One Wish Willows, only to be informed that—regrettably—they don’t really “cancel” wishes, a moment that reflects corporate indifference and irresponsibility well.

      Despite Barker and the producers claiming surprise at the laughter during test screenings, Obsession consistently finds humor; you wouldn’t cast Andy Richter without aiming for some laughs. However, the humor often manifests in such an exaggerated, deranged manner that—borrowing a quote from Bever Hopox—“Ya Gotta Laugh!!!!” This is most evident in a much-talked-about scene that was reportedly trimmed to avoid an NC-17 rating. Judging by the screams from both myself and the audience, it seems they didn’t need to cut much.

      While Obsession can be visceral, Barker wisely exercises restraint, steering clear of the senseless cruelty that often plagues other YouTubers-turned-horror-directors like Danny and Michael Philippou (Talk to Me, Bring Her Back). This restraint allows him to maintain sympathy for Nikki, even when she’s duct-taping the door shut (somehow the least extreme action in this narrative). There’s clear skill in the shot composition and the scares—some even nodding to Pulse—though certain segments feel less polished. This is particularly noticeable in the editing, which sometimes drags on to the point of distraction. Occasionally this works, such as when the camera lingers on Nikki’s increasingly strained smile, but in other instances, it reveals a director still searching for his style.

      The same cannot be said for Navarrette, whose facial expressions and vocal modulations are truly unforgettable. She channels her best Cecelia Condit/Betty Gabriel impression when repeating “No no no no no” with rising intensity, or when she opens her mouth in a stiff, artificial manner. At times, she emerges as the film's funniest component, generating deep, uncomfortable laughs by exclaiming “STAY,” oscillating between a glitching robot and a toxically dependent girlfriend. Her performance stands out as a contender for one of the best of the year—a classic villain that unveils another, confined self. It is as heartbreaking as it is unsettling, driving home the reality that Bear has stripped her of all agency. If the conclusion slightly embraces the cruelty that had been largely avoided, it’s only because her impact has been so significant. Familiar as it may be, Obsession serves as a solid introduction to emerging talents while delivering the twisted thrills and moral complexities one could desire.

      Obsession premieres in theaters on Friday, May 15.