After hearing so many people rave about Obsession and reading all the glowing reviews — “a shocking & riveting breath of fresh air” and “one of the best thriller horror films this decade” — when it finally landed on Peacock, I figured it was time to see what the fuss was all about.
It started strong. We meet Bear (Michael Johnston), a guy so awkward he orders a Pina Colada at a dive bar. No shade to the drink because it’s one of my favorites, and there’s nothing wrong with being different, but read the room, pal. It’s the first of many signs that Bear isn’t “misunderstood ”— he’s just a glitch in the social matrix waiting to happen.
He’s madly in love with his coworker Nikki (Inde Navarrette), obsessively scrolls through her social media, talks about her constantly, and even goes so far as to practice asking her out with a waitress at a restaurant he’s at.
But instead of having actual balls and asking for a date when the opportunity arises (or even admitting he likes her when she straight out asks him if he does,) he snaps a “One Wish Willow” stick he picked up at a New Age shop, makes a wish, and boom: Nikki is suddenly, terrifyingly in love with him.
Now you can say he didn’t really mean to do it — that he was a victim of circumstance, that he was frustrated, that his awkwardness with the situation overwhelmed him (she’s so nice to me, she must like me back,) or that he overreacted. But those are just flimsy excuses, akin to watching someone get beat up on a subway platform and doing nothing but recording it on your cellphone to post up on social media for views and fame.
The Megan is Missing Vibe
As the film progresses, Bear reveals himself as the ultimate “Nice Guy” predator. He realizes Nikki is essentially under a magical roofie spell, but instead of trying to fix it (and yes, I know he tried but by then it was too late,) he takes advantage of it. He has sex with her while she looks like a lobotomized doll, then has the audacity to act like he’s the victim when she starts doing crazy stuff — like digging up his dead cat and making him a lunch meat sandwich out of it.
Yes, you read that right. Cat sandwiches. And that didn’t even bother me. Neither did the gore or violence, like that shocking scene with Sarah (Megan Lawless).
What bothered me was when I got that sick-to-my-stomach, icky Megan is Missing feeling, halfway through the film. Because just like that movie, Obsession started giving off that same vibe: exploitative and mean-spirited without a point. Not enough to shut it off like I had to with Megan is Missing, but close enough that my thumb was hovering over the off button on my remote.
It’s a loop of Bear being a coward and Nikki being a victim, while their friends stand around like NPCs in a glitchy video game. And all the while the audience just watches, praising a film and celebrating a story about a lovesick guy who’s gone too far.
From Reel Rebel to Studio Puppet
Writer/Director Curry Barker’s The Chair, the short horror film that caught the attention of a major film producer which opened the door for Obsession, was a decent piece of work. It had timing, humor, and actual scares. But Barker took those same tricks and stretched them out until they snapped.
He could’ve stayed a Reel Rebel — even if he was, as he claims now, “never a “YouTuber.” But then he got a 750k budget, major studio backing, and a massive, slick hype machine that masked the reality of what this film truly is: trauma porn.
One of the only positives is Inde Navarrette’s phenomenal performance as Nikki. She gives off major Neve Campbell final girl vibes and manages to be genuinely terrifying and heartbreaking at the same time. It’s just too bad she’s trapped in a script that won’t let her fight back.
The Verdict
The ending is the final nail in the coffin: Bear takes the easy way out by committing suicide with no note or video explaining why and what happened. Instead, he leaves Nikki traumatized and broken — and probably facing a life sentence for crimes he forced her to commit — while we’re left with nothing but, “Oh, well. Great film. Next.”
It’s not “elevated horror.” It’s not a “dark psychological thriller.” It’s not even comedic trash like ThanksKilling or Rectuma, or those Italian horror flicks that border on the edge of “hmmm.” Instead, Obsession is a disturbing, frustrating mess that mistakes cruelty for art.
Final Verdict: 🗑️ Straight to the Tap Out Trashbin.
If you want a good psychological horror movie, watch Peeping Tom. If you want to watch a man-child dodge accountability for almost two hours, go to a high school reunion.
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