Gemma's, helped by ex-pharmacist Paul, tries to stop her panic attacks with medication. Will, unable to hear to his son in his bedroom back home, antagonizes Paul and suddenly goes home. Gemma is now reliant on Paul who appears to be developing genuine feelings for her welfare. Love, grief, and the frailty of the human condition are all brought to the fore as Gemma Will and Paul are caught up in a descent into violence, both psychological and ultimately physical.
Gary Sinyor's film has a basic but effective way of jangling its viewers' nerves at selected moments. One thing the visual trickery can't blot out, though, is the plot's unhelpful daftness.
A committed central performance from Jasmine Hyde can't quite save this half-baked thriller that matches jarring tonal leaps and narrative ineptitude with unfortunate echoes of superior films.
What The Unseen lacks is Roeg's economy... The performances are all good though, and the sterile modernity of both the Shields' and Paul's respective domiciles suits these peculiarly alienated people who, unseen, haunt each other's homes.
A portrait of grief and guilt that's only mildly engaging, until it morphs into a wannabe psychological thriller and turns limp, laughable, and just plain icky.
A drama of upper-middle-class menace that can't quite bring itself to be a full-on slasher movie, this has a few too many clichés but offers some creepiness and decent performances.
The final act stumbles once or twice, but it's engaging, tense, the conclusion is earned and affecting, and [Jasmine] Hyde's superb performance carries it through any wobbles.
Writer/director Gary Sinyor spent over a decade developing this unsettling thriller, which overcomes the odd plot blip to provide some poignant insights into the psychological consequences of grief.
