Obsession is the feature debut of Curry Barker, a filmmaker who, depending on your age and how much time you spend online, is either an exciting new voice in horror or, “that funny YouTube guy.” Barker built a substantial audience through sketches and short films before making the jump to features. At an age when many directors are still trying to get someone to return their emails, he’s directed a legitimate theatrical hit.
What’s perhaps even more remarkable is that Obsession arrived at the same moment as Backrooms, another indie horror film from a young director who first gained attention online. The two movies were effectively competing for the same audience and somehow both managed to outperform The Mandalorian and Grogu. That’s not just a good weekend for horror. That’s a statement.
In recent years, superhero fatigue (and blockbuster fatigue in general) set in and pundits said the movies were on borrowed time as an artform. I have been hoping for the pendulum to swing back to smaller movies that engaged audiences again, much like the American auteurs of the 70s or the indie films of the 90s. Things get tired and bloated and they’re replaced by something cool and exciting. It’s too early to say that this is that, but the fact that movies like this are bringing out audiences (including younger people) are a step in the right direction.
Obsession’s premise is simple: a young man, a bit of a lonely wiener, is in love with a woman who’s out of his league. He purchases a joke item that is supposed to grant wishes, meant to be a gift for her. But instead of giving it to her, he uses it to make his own wish — that she would fall in love with him. This leads to a terrible be careful what you wish for situation.
At first blush, it looks like one of those dumb, high-concept popcorn horror movies that Blumhouse cranks out, sometimes to poor results, sometimes to great results, with movies like Happy Death Day. (And I mean dumb as a compliment. Horror has often thrived on simple ideas that are well executed).
But at its core, Obsession feels deeply indebted to the sort of storytelling Stephen King helped popularize. For a long time, horror lived in gothic castles and fantasy worlds far removed from our own. Writers like King asked different questions: what happens if the vampire moves into your town? What if the supernatural shows up at your local grocery store?
Obsession applies that same thinking to the idea of a monkey paw, a concept King also loves. What would a love potion actually look like in a world of dating apps, messy breakups, loneliness, insecurity, and emotional baggage? The film isn’t content to simply unleash its premise and watch the chaos unfold. It explores the implications well.
And there’s a lot more going on underneath that high-concept. Themes of toxic love, obsession, codependency, emotional manipulation, and dependency run throughout the story. At various points, you start questioning who the villain actually is. The answers aren’t always straightforward.
In fact, one of the film’s smartest decisions is that it doesn’t over-explain. We get enough information about how the supernatural elements work to understand the stakes, but not so much that the mystery disappears. Barker leaves room for interpretation, and some of the questions he raises are more unsettling than any exposition dump. The implications linger long after the credits roll. I’ve been thinking about it for days.
The cast deserves a lot of credit. Barker’s longtime sketch comedy collaborator Cooper Tomlinson proves equally capable of making the transition to feature acting. Michael Johnston is believable as our wiener. The real standout, though, is Inde Navarrette as Nikki, whose affections have been magically hijacked. It’s a difficult role to describe without spoiling anything, but she threads an incredibly tricky needle and completely sells what the character goes through.
After saying all that, I feel like I’m burying the lede. Like, is this smart horror movie just smart or is it actually scary?
Some of it was downright terrifying.
Sure, the film has some effective jump scares, but what impressed me more was its ability to create genuine unease. Barker shows a strong understanding of visual tension. There are scenes built around shadows, long held shots, and the uncomfortable feeling that something isn’t quite right. The movie often knows exactly when not to cut away, forcing the audience to sit with their discomfort a little longer than they’d like. Actually, in a few scenes, a lot longer than they’d like.
I might note that the movie a bit predictable at times. However, I also watch a lot of movies. And a lot of horror movies. When you’ve spent decades consuming the genre, you start spotting the road signs early. So, your mileage may vary. Either way, it didn’t hurt my rampant enjoyment of the film. And I loved the ending. It was a perfect fit for the story.
For a first true feature, it’s an impressive calling card. For horror fans, it’s an easy recommendation. And for anyone wondering whether there’s a next generation of filmmakers that could take over, Obsession is an indication that they may be here already.
