‘Lurker’: Sundance Review

Dir/scr: Alex Russell. US. 2025. 100mins

Alex Russell’s slick psychological drama Lurker appears like a throwback to Deadly Attraction-style situations as a rising music star finds himself on the mercy of an obsessive stalker. Russell takes a much less melodramatic, genre-influenced strategy to the fabric, making a measured portrait of shifting energy dynamics and the irresistible lure of superstar. It isn’t totally satisfying however the intriguing idea, sturdy ensemble solid and polished execution have business potential following the movie’s Sundance premiere and subsequent play as a Berlinale Particular Gala.

A measured portrait of shifting energy dynamics and the irresistible lure of superstar

Russell, a author and producer on tv sequence The Bear and Beef, makes an assured directorial debut from a screenplay that was on the 2020 Black Listing. Archie Madekwe, a Display screen Star Of Tomorrow in 2017, is without doubt one of the producers and co-star of a movie that has some affinities with Emerald Fennell’s flamboyant thriller Saltburn, during which he additionally co-starred. Madekwe’s Oliver is in the beginning of what guarantees to be a massively profitable music profession. When he browses by a cool LA garments store, retail assistant Matthew (Theodore Pellerin) seizes his alternative. They bond over a shared appreciation of Nile Rodgers observe ‘My Love Music For You’ and Matthew is casually invited to come back backstage at a gig later that day. It’s all the encouragement he wants.

Prolific Canadian actor Pellerin has the look and a number of the mannerisms of a younger, gawky Anthony Perkins. His Matthew is all wide-eyed innocence, nervous gulps and a Woman Diana tilting of the pinnacle. It appears apparent – maybe too apparent – that the creepy Matthew will not be as guileless as he initially seems. His awkward first encounter with Oliver’s band members exhibits simply how a lot humiliation he’s keen to endure to achieve acceptance and begin his journey from hanger-on to interior circle confidant.

Matthew appears the form of  conniving character that we’ve seen down the a long time from All About Eve (1950) by varied incarnations of Patricia Highsmith’s Tom Ripley and past. As Matthew steadily makes himself indispensable – together with travelling with the band to a London gig – he’s assigned to direct a behind-the-scenes documentary, permitting Russell to incorporate handheld, fly-on-the-wall video recordings within the visible combine. Madekwe’s Archie against this has an interesting sweetness and a vulnerability to the flattery of others. He’s additionally a really spectacular singer. The movies, live performance appearances and efficiency of tracks like ’Love And Obsession’ and ’Candy Speak’ permit Madekwe to create a rounded, convincing character. 

A really in a position supporting solid is used to replicate the viewers’s response to Matthew, with Havana Rose Liu investing supervisor Sahi with a shrewd consciousness of the video games being performed and Zack Fox’s charismatic band member Swett amused, indulgent after which unsettled by Matthew’s sudden ubiquity. 

Russell offers some perception into Matthew’s on a regular basis life, exhibiting the house he shares along with his grandmother and the resentment he feels when fellow retail assistant Jaime (Sunny Suljic) additionally tries to befriend Oliver and his band. There are moments when his eager-to-please masks slips and we see his anger and vindictiveness. Matthew appears like a well-known delusional loner, and it appears we all know precisely the place the story is likely to be heading.

Lurker is usually a bit of too on the mark, particularly with Russell’s repeated use of James And Barry Purify’s efficiency of ’I’m Your Puppet’ on the soundtrack. He additionally stretches credibility with the rushed manner that Matthew features the higher hand and acquires the means to bend Oliver to his will. However, subsequent twists of their dynamic and the hints of some attainable sexual attraction between them assist the movie construct to a much less apparent conclusion.