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Adrift in Fear: Row Finds Hitchcockian Tension on the Open Sea

18 Monday Aug 2025

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1,000 miles from shore, no one can save you.

Director Matthew Losasso’s feature debut Row takes the oceanic survival thriller and places it in an unnervingly claustrophobic setting. When a blood-stained rowing boat washes up on the Scottish coast, sole survivor Erin (Bella Dayne) is found with no memory of what happened to her missing crew. As fragments of her ordeal begin to resurface, the line between truth and paranoia blurs, leaving her — and the audience — to question what really happened on the North Atlantic.

What makes Row compelling is its stripped-down intensity. Confined largely to a rowing boat and a handful of central characters, the film thrives on its sense of isolation. Much like Hitchcock’s Lifeboat, the limited setting heightens every glance, every fraying nerve, and every creeping suspicion. Losasso’s direction makes clever use of both the open sea and the more intimate water tank sequences, ensuring the tension never feels stagey or static.

Bella Dayne carries the film with a strong, layered performance, keeping Erin’s vulnerability and resilience in constant conflict. Around her, Sophie Skelton, Akshay Khanna, and Nick Skaugen add fuel to the psychological fire, feeding the audience’s doubts about who can be trusted. The film’s visual texture — captured in Caithness and along the Scottish coast — lends a bleak beauty to the ordeal, a reminder of nature’s indifference to human suffering.

If there’s a drawback, it’s that the narrative occasionally drifts into familiar survival-horror beats, and some viewers may find its final revelations less impactful than the gripping tension leading up to them. Still, as a debut feature, it’s a confident and unsettling piece of work that thrives on mood, anxiety, and the psychological unravelling of its characters.

The Prognosis:

Row doesn’t reinvent the genre, but it demonstrates that Losasso is a director with a keen eye for atmosphere and psychological stakes. Tightly woven, quietly haunting, and with shades of Hitchcockian influence, this is a thriller that pulls you in and refuses to let go.

  • Saul Muerte

Movie review: Day of the Dead: Bloodline

11 Sunday Feb 2018

Posted by in Movie review

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I’m not sure what it is about the Day of the Dead storyline that jars so much.

On paper, it boasts an interesting premise of science vs state. Always at conflict in the real world and makes sense that they would come under close scrutiny when faced with a post apocalyptic world full of zombies.

Arguably though, it is the weakest movie from George A Romero’s original trilogy, and yet, it has now mastered two remakes, one released back in 2008 and one Day of the Dead: Bloodline tries to make its own mark on the subject, leaving many to ask, ‘what’s the point?’

The bones of the original film are still present, with an underground bunker containing some civilians reside under the rule of military personnel.

The changes are significant though. The first is a strangely confusing beginning marking the initial outbreak in a typical American street before taking us to a scientific laboratory to essentially show us the outbreak again, but from the viewpoint of lead character Zoe Parker (Sophie Skelton) a medical student who witnesses her friends and peers all wiped out as carnage ensues within the facility.

Before all this occurs though we are introduced to Max (Johnathon Schaech, a creepy patient who has a serious crush on Zoe, and in case you missed the heavy hint, also happens to have a mysterious blood type. Like that’s not gonna come back later.
Just as Max forces him myself in Zoe, the living dead make their entrance, forcing Zoe to go from one ordeal to another.

Both of her worlds will collide again though, as we pick up our story again as we time jump to a few years down the track, where Zoe lives in the afore-mentioned bunker, and formed a relationship with Baca, the younger brother to the Lieutenant running the military outfit, Miguel.
Cue conflict both internally and externally.

It is on a medicinal run back to the laboratory when their troubles really begin as Max who has somehow partially survived, becoming both walking zombie and human, (essentially this version’s Bub) and perhaps the answer to their salvation.

Of course it won’t go swimmingly for the survivors, but by this point everything feels so bland and blah, blah, blah, that we have gone beyond the point of caring.

Schaech gives a decent performance as the ‘villain’ of the piece, but the one small thread that we can hang onto is that Skelton actually gives a solid performance as Zoe, and this keeps you intrigued enough to push you towards the films conclusion, but just barely.

The Diagnosis:
It’s a fairly stable effort, but neither diminishes or improves upon the original film. Characters are two-dimensional and the plot line is weak, leaving you ultimately back to your original thought… what’s the point.

 

  • Saul Muerte