The level of suspense in The Luring makes this clever psychological thriller a lot scarier than I was expecting. Written and directed by Christopher Wells, the film plays tricks on its audience by disguising itself as a midnight movie, making us think we can put our guard down.
From the first scene to the last, we're guided on a wild ride that's elevated by strong performances across the cast, coupled with a very well-done original score. But it's the nice little touches that make The Luring a worthwhile watch: from the way the characters become transfixed by the serene paintings (a metaphor that things aren't always as they seem), to the way poetry ties characters together and foreshadows their demise, to how the toy truck is used as bait.
We follow Garrett, played by Rick Irwin, and the hopeful romantic Claire, played by Michaela Sprague, whose characters have very different ideas about where their relationship is heading. The film digs into the power dynamics of dominance and submission and how we change our persona depending on who we're confronted with. A beautifully executed oner at the lake reveals a lot about their relationship; as the camera creeps closer, the tension builds, making us feel like an evil force is manipulating them.
The small vacation house somehow magnifies insecurities in some and amplifies self-indulgence in others, which leads to a heart-racing sequence involving a ten-year-old boy, all under the watchful eye of a sinister figure, chillingly played by Dan Berkey.
The way Wells reintroduces the devil in the bowling alley scene is brilliant. We almost forget his earlier involvement, so when he reemerges, the framing cuts off his head, creating unsettling foreshadowing that plays out in an underbelly of suspense.
Throughout the film, the characters are plagued by nightmares, and the blending of reality and dreams makes us wonder if they're trapped in purgatory or caught in a web of pure evil.
The Luring grabbed my attention because it quickly earned it.
