Obsession, 2025.
Written and Directed by Curry Barker.
Starring Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, Andy Richter, Haley Fitzgerald, Darin Toonder, Anthony Pavone, Justice, Anthony Casabianca, and Chloe Breen.
SYNOPSIS:
After breaking the mysterious “One Wish Willow” to win his crush’s heart, a hopeless romantic finds himself getting exactly what he asked for but soon discovers that some desires come at a dark, sinister price.
Everyone has likely had a crush at some point in their lives. That makes writer/director Curry Barker’s Obsession one of the most horrifyingly relatable cautionary “be careful what you wish for” tales. In this case, it’s also an example of “corrupt-a-wish.” as Baron (Michael Johnston), a ball of anxiety with practically no self-confidence to even voice his feelings to find out if longtime friend Nikki (Inde Navarrette, a revelation giving her all to her role that demands nothing less than 150% no-hesitation all-in commitment) not only feels the same way, but would even entertain the idea of a relationship and see where that would go, purchases a “wishing willow” at a mystical-type store selling rock quartzs (each supposedly capable of magically bringing about a specific mood) and other strange objects, which not only works when he wishes for her to “love him more than anyone in the world”, but brings out the title of the film.
It is also somewhat telling that not only is Baron unable to settle on something that would make a good gift for a woman he wants to be with, but he also leaves the store frustrated with a long-shot, silly item that one would think would never work. Part of the reason this film excels as a twisted horror cringe-comedy is that the script has no intention of explaining why it works or of bogging this story down with unnecessary rules and exposition. It’s more concerned with the moral drama and the outrageous, sometimes shocking directions the story can take in the service of themes ranging from male fragility, selfishness, and crippling self-doubt to agency and wish fulfillment gone wrong.
Another telling aspect is that Baron (who Nikki begins to affectionately and amusingly call Bear in her supernaturally possessed, obsessive state of mind) has little interest in telling his friend group (which includes Cooper Tomlinson’s Ian, Megan Lawless’ Sarah, and others) the truth, not necessarily referring to the wishing willow (which would be a stretch for anyone to convincingly believe), but Nikki’s sudden infatuation. It is learned that her father may or may not be dying of cancer. If he is, this naturally paints Baron, as someone who is taking advantage of a depressive episode to curry romantic favor and interest. We know that the reality is the opposite to an uncomfortably funny degree, but if he was desperate enough to make this wish in the first place and his friends are assuming as much, maybe it also says something about his character.
Baron doesn’t grow frustrated during the honeymoon phase montage (a portion moved through a bit too fast, which amounts to activities living together and, obviously, sex with consent called into question), but it’s also not long before this romance (the film also has an intriguing thematic juxtaposition between love and romance) turns uneasy and outright dark, with her watching him sleep in the corner of the bedroom, sometimes frantically walking backwards or moving throughout the room like an otherworldly being, and, at one point in what is one of the most degrading aspects of this astonishing performance, standing still staring at the door like a loyal dog until he returns from working at a music store (a job they both share, but which she has recently put in her two weeks notice before this curse to focus on her writing ambitions).
Fear not, these aren’t spoilers; that’s only a taste of the obsession. Complete with an unsettling smile (funnily enough, far creepier than anything in the two movies with that title) and an exaggerated laugh that crosses into obnoxiously performative territory, Nikki is also both an emotional and psychological terrorist. There are absolutely misgivings to have about how Baron goes about this entire drastic shift in personality (it’s also telling that it takes him nearly the entire running time before attempting to buy another wishing willow and make another wish, which I won’t spoil the outcome of), as even with his increased terror of being around her and no longer having personal time or a privacy, there are moments where he knows he has his wish and he still wants to make this work rather than find a solution to revert her back to her original self.
There are certainly times the lack of rules turns into a double-edged sword, with the film occasionally on the cusp of getting away from Curry Barker (I’m not sure even he fully decides if this cursed wishing is something that routinely happens in this world or town, or if it’s a magical isolated incident), but the trade-off sticking with characterization and themes majorly pays off. With that said, Obsession gleefully puts him through and back with appropriate nastiness. It is, usually all at once, revolting, jarring, and disturbingly hilarious, with plenty of surprises and swerves. Finally, a movie that potentially has the power to scare men and center their moral compasses.
Flickering Myth Rating– Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★
Robert Kojder
