As we have deduced that Emma is the same character who suffered the gang rape implicit in the opening of the film, we may share the unease she feels at the idea of being in this lonely place. This lonely place equipped with what appears to be a state-of-the-art security system. This gives her a sufficient level of comfort so that she can bathe before the arrival of her husband, Henry. This getaway aims to rekindle their troubled marriage. But sparks, or at least wandering electricity, begin to have a greater influence on them after the house is taken over by a seemingly omniscient entity who orders the duo (in a deceptively creepy deep voice that is really weak) to ” To obey. Obey. Obey. Obey. ”When the couple does not, the husband or wife experiences very bad high voltage shocks.
What the house wants them to do is… a lot. As the couple enter their room, Emma reaches out to open the door and the low, scary, false voice says, “Stop. A man should open the door for his wife. So Henry opens the door. The voice then says “Mrs. Barrett. Smile and thank your husband. Apparently, the force that controls the house is somehow a combination of Emily Post and a construction worker.
“Could it actually be … the patriarchy? I thought the premise of the movie was making its very quick trip from slightly intriguing to utterly boring. Do not laugh. And here I will end with the plot points. For the majority. I’m aware of spoilers even when I’m panning.
The actor playing Emma is Jill Awbrey, who also wrote the screenplay; the reins of production are managed by Travis Cluff and Chris Lofing. This is the third feature film of the duo, whose last feature was “The Gallows Act II” in 2017, which I didn’t care much about. How much did I care? I mentionned that the film’s finale was “a rancid misogynistic cherry on a sloppy concoction for fear of tired jumps.”
While I’m not self-centered enough to think that as a critic I have any effect on filmmakers (and that’s not my ambition either), I’m mildly struck that Cluff and Lofing here take a project with what I’ll call a strong feminist component – from a script they themselves characterized in a press release, or something, as “empowering.”