The old phrase, “Be careful what you wish for,” is applied to horror movies pretty often, even if it’s not as overt as something like The Monkey just recently. Whether it’s a variety of Twilight Zone episodes, Tales From the Crypt shorts, or the occasional Stephen King work like Needful Things, the perils of monkey paw-type logic when it comes to supernatural horror plotlines rarely result in a happy ending. And so here we have Obsession, made for a million bucks by Curry Barker, a young guy who has built quite the brand via comedy and horror shorts found on YouTube. Whether or not this film brings much new to the table regarding the dangers of dreams coming true, co-dependent relationships, and toxic behavior in general, it still manages to nail the uncomfortable terror of someone’s unwavering mania. As a result, this is an effective horror feature that builds dread and terror through an eerie approach to its story, blended quite well with a dark sense of humor. However, most importantly, the incredible work by Inde Navarrette holds all of this together thanks to her commitment.
Navarrette stars as Nikki. She works with her childhood friend Bear (Michael Johnston) at a record store. Bear so clearly has a crush on Nikki that you can practically hear her begging him to admit it early on, before she heads back inside her home, puzzled by this mumble-mouthed dummy. Well, that dummy also happened to purchase a gift for Nikki in a new age shop. This would be the “One Wish Willow,” which promises to grant its user one wish. Wouldn’t you know it, Bear wishes for Nikki to love him more than anyone else in the world, and it works.
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From there, a change occurs pretty instantly, but it’s a bit more subtle at first. Nikki suddenly has new desires, and Bear is all for them. It’s only until after his mojo calms down that he’s able to realize that there’s a supernatural force at work that has added this sudden transformation in the girl he’s been crushing on. With that in mind, watching Nikki’s smitten nature turn into something far darker is what the film’s rush is truly built on.
While Barker’s direction is quite effective, and as the film’s editor as well, one can clearly see how his vision has shaped the choices made to maximize the creepiness intended to accompany what this story offers. It starts with a hard cut to an unfortunate situation involving a pet, and yet that somehow becomes the catalyst for several dark moments that border on the mean-spirited. Then, of course, there’s Nikki.
Navarratte’s work is so exceptional that even those not under the spell of this movie would have to agree she’s delivering fantastic work as a performer. While there are some choice lighting-based moments that show Nikki in silhouette, it’s the way she appears out of nowhere and almost glides through reality as she moves towards or away from Bear. Given that we know the wish is real, we know some force is at play, but the film is quite clever in how it reveals what’s going on, leaving us with a performance that is unhinged yet entirely focused under the circumstances.
The rest of the film supports this performance as well. While we don’t have much of a budget to work with, sound design helps us better understand what Nikki forces herself through, with or without Bear. This is even better represented by touches in the production design, such as what happens to a door midway through the film, which is both a humorous gag and wild to think about. Of course, the film eventually hits non-subtle territory as well once things begin to get more violent for various reasons. Whether these are actions taken against others or against themselves, Obsession certainly doesn’t shy away from brutality (the film had to be re-edited several times to secure an R-rating by reducing the number of shots of a head being rammed into something).
Given the nature of these characters’ behavior, one might wonder if there’s a larger idea on the filmmakers’ minds. The solve appears to be related to the nature of the characters we are dealing with. It’s not as though Bear is an innocent in any sense, but the film is also wise in making it clear that the guy is kinda lame, even if he didn’t make the wish. Sure, other films could lean into Bear being like an 80s John Cusack character, but it’s as if Barker saw this and decided to go against the grain of suggesting the smart but quiet/shy guy is going to be the actual best choice for a young woman looking for a proper partner. Thanks to that call, Obsessions plays out more effectively, and allows for more consideration of what to consider.
Similarly, the film’s low budget also means it can’t convolute itself either. The rules of the object behind the wish are considered and even delved into a bit, without having to detail some elaborate background. There are 4 or 5 characters at most in this film, which speaks to the throwback nature of the story, let alone how much more claustrophobic it should ultimately feel. Given the dark campfire-tale nature of what’s taking place, this isn’t the kind of film that needs a whole world when the basic elements are all that’s really needed to convey a mood.
I’m all for seeing original horror films that nail what they are after. Obsession takes a familiar idea and runs with it to a high degree of success thanks to confidence behind the camera and strong casting for our leads. The character work is key, as we need to see various sides represented, even under these heightened circumstances. Having the movie successfully explore its underpinnings regarding the nature of toxic relationships only adds to the thrills and eerie surprises in store for audiences. All of this paves the way for Obsession to be a film on the minds of many for weeks following their viewing experience.
Obsession opens in theaters on May 15, 2026.
