Don’t Move sets up a chilling scenario that would send shivers through even the steeliest viewer: grieving mother Iris (Kelsey Asbille) must fight for her life after a chance encounter with a ruthless serial killer who injects her with a paralytic agent. Directed by Adam Schindler and Brian Netto, the film attempts to merge high-stakes thrills with psychological horror, but it ultimately struggles to fully capitalise on its premise. Despite a well-rounded cast and bursts of tension, Don’t Move lacks the depth and danger that could have made it unforgettable.

The narrative begins with a promising setup as Iris, still reeling from personal tragedy, stumbles upon the killer. The film efficiently establishes a sense of urgency as she’s injected with the paralytic agent, setting a timer on her desperate attempt to escape before the drug takes hold. As she runs, hides, and fights to stay ahead of her assailant, the ticking clock injects some genuine suspense, and there are moments when Asbille’s performance as Iris—determined, terrified, and defiant—brings the urgency and fear to life.

Kelsey Asbille’s portrayal of Iris is commendable, as she navigates a spectrum of emotions from grief to desperation, giving a grounding force to a story that relies heavily on her character’s will to survive. Asbille’s performance feels layered and sincere, embodying a raw vulnerability that adds authenticity to the harrowing experience. Finn Wittrock, playing the serial killer, delivers a solid but somewhat predictable performance. Known for his versatility, Wittrock unfortunately leans into familiar territory here, lacking the nuance that could have elevated his character beyond the typical, single-minded predator. While he’s chilling in moments, Wittrock’s portrayal feels more like a trope than a fully realised antagonist, limiting the sense of menace he brings to the screen.

The film’s pacing is uneven, with moments of taut suspense broken up by lulls that feel oddly disconnected from the central tension. There are glimpses of innovation in the choreography of Iris’s attempts to elude her pursuer, yet the film rarely goes beyond surface-level thrills. While the script provides some gripping sequences, it often feels like Don’t Move is holding back, unwilling to push Iris’s ordeal into truly harrowing or unpredictable territory.

Much of Don’t Move‘s atmosphere hinges on its premise, but without a deeper exploration of Iris’s emotional or psychological state, the horror feels somewhat hollow. The directors capture a few standout moments of visual tension, but the film struggles to balance its action sequences with meaningful character development. Unlike films that masterfully blur the line between a physical and psychological threat, Don’t Move leans too heavily on formulaic horror conventions, never fully tapping into the deeper fears it flirts with.

The Prognosis:

Don’t Move offers an engaging thriller that falls short of its potential. Despite flashes of intensity and solid performances, it lacks the originality and edge to make it a lasting addition to the horror genre. For fans of survival thrillers, it may offer some fleeting thrills, but for those seeking a truly immersive experience, Don’t Move may feel disappointingly restrained.

• Saul Muerte

Don’t Move is currently streaming on Netflix.