Obsession Review: A Wickedly Funny Horror Sensation

      Even if he hadn't recently secured the new Texas Chainsaw Massacre remake, you’ve probably come across the name Curry Barker. He represents the latest trend of former sketch comedians and YouTubers branching into horror directing, having an online feature to his credit. Obsession—his first theatrical endeavor—lives up to both his potential and its title. Amid its familiarity, there’s a potent premise just waiting to blossom into something remarkable.

      Obsession delivers a dark and twisted take on The Monkey's Paw with a fresh trigger: a peculiar item called a One Wish Willow, found in local New Age shops, that grants the person who breaks it in half one of their deepest wishes. The fortunate individual is Bear (Michael Johnston), a fairly average guy hopelessly smitten with Nikki (Inde Navarrette), his colleague at a music store. He struggles to muster the courage to admit his feelings, prompting his best friend and coworker Ian (Cooper Tomlinson, Barker’s partner in their comedy troupe “that’s a bad idea”) to deem him a lost cause. Even when Nikki bluntly tells him to “shit or get off the pot,” he still can't take action. If only there were a way to make her love him more than anyone else on the planet—perhaps something from the local New Age shop.

      As wild and unsettling as Obsession becomes, the film raises less concern about where it is heading and more about how it will get there and the route it will take. However, credit to Barker, it never feels like he’s dragging his feet; much of the film focuses on observing Bear and his coworkers, including Sarah (Megan Lawless), the owner's daughter, who may harbor a crush on Bear. Both she and Ian find Nikki’s abrupt change a bit strange, worried that Bear could be exploiting her mental breakdown. This development suggests that Barker has deeper thoughts in mind, understanding that another interpretation of this narrative could be disturbing in its misogyny.

      Instead, Barker acknowledges that Bear is not the greatest guy, even though he seems nice on the surface. Johnston plays a likable enough hero that it mitigates the frustration viewers may feel as Bear keeps dodging the obvious situation before him. One of his attempts to stall involves calling the company that produces the One Wish Willows, only to be told that they do not really “cancel” wishes—a moment that effectively highlights corporate indifference and irresponsibility.

      Despite both Barker and the producers claiming they were surprised by the laughter during test screenings, Obsession often finds a sense of humor; after all, you don’t cast Andy Richter without aiming for some intentional laughs. Yet, this humor frequently manifests in a heightened, deranged fashion that prompts one to quote Bever Hopox, “Ya Gotta Laugh!!!!” This is especially true in a much-discussed scene that was reportedly trimmed to avoid an NC-17 rating. Based on the audience's screams during my viewing, it doesn’t seem much was cut.

      As visceral as Obsession can be, Barker wisely exercises restraint, steering clear of the senseless cruelty that sometimes plagues other YouTubers-turned-horror filmmakers like Danny and Michael Philippou (Talk to Me, Bring Her Back). This restraint is evident in how he maintains sympathy for Nikki, even as she duct-tapes the door shut—somehow the least extreme action in this narrative. There’s definite skill in the framing of shots and scares—even those not referencing Pulse—although some segments feel slightly unfinished. This is particularly noticeable in the editing, which sometimes lingers on moments to the point of distraction. At times, this works, as when the camera holds on Nikki’s increasingly painful rictus-like smile until it finally pans down, but at other times, it hints at a director still finding his stylistic footing.

      The same can't be said for Navarrette, who contorts her facial expressions and voice in genuinely unforgettable ways; for instance, when she channels her best Cecelia Condit/Betty Gabriel impression by repeatedly saying “No no no no no,” her volume suddenly surging, or when she opens her mouth in a rigid, plasticky manner. She often emerges as the film's funniest element, provoking deep, uncomfortable laughs by screaming “STAY,” fluctuating between a malfunctioning robot and a toxically co-dependent partner. Her performance is a strong contender for one of the year's best—an instant classic villain that reveals another, imprisoned self. It is as heart-wrenching as it is unsettling, emphasizing that Bear has robbed her of all autonomy. If the conclusion seems to indulge in some of the cruelty that had been carefully avoided, it's merely because she left such a lasting impact. Familiar as it may seem, Obsession serves as a solid introduction to several emerging talents while delivering all the sick thrills and moral twists one could desire.

      Obsession opens in theaters on Friday, May 15.