Don’t Move – Film Review

Adam Schindler and Brian Netto’s thriller Don’t Move stakes its claim as a visceral survival tale, spinning a familiar yet tension-packed story of endurance and personal transformation. Starring Kelsey Asbille as the grieving mother Iris and Finn Wittrock as her unsettling captor, the film captures the unsettling claustrophobia of a woman’s terrifying fight to survive against an obsessive predator. The film doesn’t attempt to redefine the survival thriller genre but relies on solid pacing, effective directing, and a compelling performance by Asbille to create a largely gripping experience, albeit with a few predictable turns along the way.

The story begins at a lonely cliffside, where Iris contemplates ending her life in the wake of her son’s tragic death. This bleak opening sets the tone, focusing on Iris’s psychological state, with raw grief woven throughout her interactions and decisions. Her character’s complexity is underscored by the raw pain she feels, and it’s in these quiet, sorrow-laden moments that Kelsey Asbille shines. This scene quickly shifts to a new brand of horror when Richard (Wittrock), a mysterious man who at first appears benign, turns predatory, marking the beginning of a harrowing cat-and-mouse pursuit through remote wilderness.

Richard, who reintroduces himself as Andrew in an apparent effort to confuse, lacks substantial backstory. Rather than explaining his motives, the film chooses to leave his twisted intentions open-ended. Though this ambiguity can be effective, it sometimes feels like a missed opportunity for deeper character development that could have enriched the tension. Nonetheless, Richard’s unpredictable menace keeps audiences on edge, and Wittrock’s portrayal, albeit restrained, strikes a balance between calm cruelty and determination that is disquieting.

The heart of Don’t Move lies in Iris’s intense fight for survival, and Asbille’s performance grounds the film, capturing her transformation from a broken, grief-stricken mother to a resolute survivor. As she faces immobilization after a paralytic injection, she must navigate her diminishing mobility, forcing her to rely on her wits. These scenes are not only technically impressive, showing Asbille’s nuanced physical acting, but also emotional as Iris rediscovers her will to live, her terror gradually giving way to defiance.

Schindler and Netto excel in establishing a foreboding atmosphere. The setting shifts from dense woods to isolated cabins and dimly lit service stations, creating an almost suffocating environment. Cinematography by Zach Kuperstein leans into low lighting and muted colors to give a visual sense of Iris’s entrapment. The use of close-up shots emphasizes the claustrophobia and emphasizes her mounting desperation as Richard relentlessly pursues her. However, the film doesn’t shy away from moments of respite, allowing the viewers to take in Iris’s exhaustion and slowly mounting determination—moments that become essential to her character’s arc.

Don’t Move largely succeeds due to its strong pacing, striking a careful balance between suspense and action. The film doesn’t delay the onset of the main conflict, and the script by TJ Cimfel and David White introduces just enough complications to keep the story engaging. Richard’s methods and Iris’s dwindling mobility are expertly timed so that each scene builds upon the last, raising the stakes with every minute that passes. Each twist in the chase feels natural, grounded in the plausible struggle of Iris trying to outwit a captor who’s always a step ahead.

However, some thriller tropes are less effective, with moments that feel overly familiar. The relentless chase, the conveniently isolated locations, and the dangerous game of cat and mouse are familiar devices, and while effective, they don’t break new ground in terms of innovation. Despite these moments, Schindler and Netto keep the tension taut enough that viewers are likely to remain invested in Iris’s journey.

While Don’t Move is primarily a two-character battle, a brief yet intriguing interaction with Bill (Moray Treadwell) brings a momentary shift in perspective. Bill’s role, though fleeting, adds dimension by introducing an unexpected ally for Iris—someone who could have been her lifeline. Treadwell delivers a convincing, if short-lived, portrayal, adding a layer of moral tension when Bill must decide whether to believe Andrew’s fabricated tale or risk his safety to protect Iris.

This subplot holds potential for richer emotional exploration but feels like a missed opportunity. Further interactions with Bill or other minor characters could have deepened the narrative and allowed Iris’s character to connect more meaningfully with others, creating a contrast to her isolation with Andrew. However, the film opts for a tighter focus on the individual struggle, favoring intensity over character exploration.

Where Don’t Move truly excels is in its technical execution. Popovic’s cinematography, paired with a haunting score by composers Mark Korven and Michelle Osis, transforms the vast wilderness and desolate cabins into dangerous spaces that offer no sanctuary. The scenes involving the effects of the paralytic injection stand out, building nail-biting suspense as Iris’s movements gradually diminish. This slow loss of control adds a visceral layer to her struggle, making each small victory—a foot moving slightly, the grip of her fingers—feel like a major triumph.

The climactic confrontation near the water feels satisfyingly gritty, maintaining the suspense right up to the last moments. Iris’s eventual reclaiming of her autonomy and survival against all odds provides a redemptive arc that is both tense and cathartic.

Don’t Move is a solid thriller that capitalizes on the horror of isolation and the strength of human resilience in the face of abject terror. Kelsey Asbille’s committed performance as Iris elevates the film, giving a deeply personal slant to the harrowing survival narrative. Finn Wittrock’s portrayal of the menacing “Richard/Andrew” maintains a controlled, believable terror, though the lack of character backstory detracts slightly from his threat.

While the film doesn’t venture far from traditional survival thriller formulas, it knows how to play with tension, delivering a chilling and suspenseful experience. Don’t Move achieves its thrills not by innovative plotting but by layering in detailed, intense moments that keep viewers invested in Iris’s plight. For fans of taut thrillers that emphasize survival and the resilience of the human spirit, this film will likely be a satisfying, if not groundbreaking, choice.