Directors: Brian Netto, Adam Schindler
Writers: T.J. Cimfel, David White
Stars: Kelsey Asbille, Finn Wittrock, Daniel Francis
Synopsis: It follows a seasoned killer as he injects a grieving woman with a paralytic agent. She must run, fight and hide before her body shuts down.
The new horror thriller Don’t Move may not have the gravitas or sheer dread of others in the genre, but it’s undeniably effective. To be fair, 2024 has been a standout year for horror thrillers. Just look at the embarrassment of riches we’ve had over the past nine or so months, with instant classics like Strange Darling, Red Doors, Longlegs, Trap, Cuckoo, and Smile 2 invigorating a typically tired genre that often goes for cheap thrills.
However, that doesn’t mean a good popcorn flick like Don’t Move should be ignored or scoffed at. There’s nothing groundbreaking or new here, but it’s almost an homage to classic bottleneck cast thrillers, with a hard edge and a classic misdirection setup, preying on a younger audience’s prideful empathy. Much of the credit goes to the leads, with committed performances from Yellowstone’s Kelsey Asbille and Origin’s Finn Wittrock.
If you want to go into the Netflix film fresh, I suggest skipping the following two paragraphs. However, if you’ve already seen the trailer, the excellent setup is spoiled anyway. The movie opens with a solemn woman, Iris (Asbille), who looks like she’s about to embark on her own Reese Witherspoon Wild-inspired adventure. Dressed in typical mom-athletic gear, she climbs over rocks and follows a trail to a cliff with a magnificent view overlooking breathtaking scenery.
Yet, there is something overwhelmingly sad as she takes in the setting, standing on the dangerous edge of the mountain. That’s when we hear a man approach, seemingly coming out of nowhere. His name is Richard (Wittrock), and he feels like her guardian angel, meeting by chance. He talks her down from a potential suicide attempt by connecting through shared trauma— with Iris revealing that her child died on this bluff and Richard surviving a car crash.
Don’t Move is produced by legendary horror-thriller filmmaker Sam Raimi, with directors Adam Schindler and Brian Netto (Delivery: The Beast Within) delivering a film with a visceral edge. Working from a script by T.J. Cimfel and David White (Intruders), the experience includes a few original elements. Still, it is mostly wrapped in a handful of frightening tropes that, while standard, are done competently—and at its best, quite well.
The real draw here is the script. Iris is injected with a paralytic, adding a unique element to the standard chase-and-release horror tropes, and it ratchets up the tension in what is otherwise a familiar story. The added subtext of grief and the primal urge to survive deepens the experience. (Studies, as well as the documentary The Bridge, explore the immediate regret that often follows a suicide attempt, highlighting the desire to undo what feels like an irreversible action.)
Don’t Move is worth watching because its concept allows the filmmakers to take the audience on an emotional rollercoaster, effectively engaging streaming viewers. However, it offers a fairly mainstream approach. For instance, the cinematography by Zach Kuperstein pales in comparison to more distinctive thriller styles, such as Giovanni Ribisi’s recent work or the work of Pawel Pogorzelski (Hereditary) and Dario Argento (Suspiria). The film lacks cinematic grit and stylization, with fewer tracking shots, wide-angle frames, or classic Steadicam work.
It’s those safe choices that can be frustrating, especially in contrast to the wonderfully visceral and entertaining films of 2024, which delivered blood, sweat, and anxious tears across the silver screen. The ending, in particular, could have been much stronger had it taken a riskier approach. Still, Don’t Move offers enough suspense, thrills, and memorable chills to warrant above-average engagement, holding your attention for a mild recommendation.
Just do not expect to think about the move long after it ends.
You can now watch Don’t Move, which only streams on Netflix.
