Whenever marketing materials label anything “a Hitchcockian thriller,” beware. The invoking of the great Sir Alfred’s name for any run-of-the-mill suspense drama should not imply …
Whenever marketing materials label anything “a Hitchcockian thriller,” beware. The invoking of the great Sir Alfred’s name for any run-of-the-mill suspense drama should not imply it is on the level with the best works of the filmmaker who defined a genre and has become perhaps the most copied director of all time.
This unexpected arrival clearly freaks out Segel’s character, who hides behind a wall but is soon spotted by a horrified Collins, and later by Plemons. This clearly is not what he planned when he entered the house, but he now threatens the pair and essentially takes them hostage, not knowing what else to do in the situation.
Making his way through the property to the road where he has parked his car, he is about to take off when he notices a camera device in a tree pointing directly at him — uh oh, he is on surveillance camera. This changes everything, so he goes back to the house where the couple have already broken out of the sauna, retrieves their gun that he had thrown into the fountain when he left, and captures them again demanding to know where the footage to the cameras is.
The encounter between the couple and Segel’s mysterious man continues as slow details about all three start to drift out. Plemons is some sort of billionaire tech-company CEO who is not a good guy to work for, as we can see from a nasty phone call to his assistant in order to get the half-million dollars in cash he has now negotiated in order to get rid of Segel. Collins’ wife is increasingly conflicted about the man she has married, especially when talking alone with Segel.
Without revealing where it all goes, let’s just say Hitchcock might have had a better idea. The problem here is director Charlie McDowell — who also collaborated on the story idea with Segel and screenwriters Justin Lader and Andrew Kevin Walker (
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