There’s something remarkably assured about Alex Russell’s attention-demanding thriller Lurker, a buzzy Sundance debut that’s made with an unusual amount of self-awareness. The majority of this year’s first-time narrative films have been cursed with an overabundance of either in-your-face style or precariously stacked ideas (or, even worse, both) and a frantic need to show how much one can do, often showcasing how little can be done well.
But Russell, a TV writer whose credits include Beef and The Bear, is the rare freshman who knows exactly the right balance, often choosing less when others choose too much, his film a relatively simple yet extremely confident introduction. It’s a contemporary pop-culture riff on an obsessive psycho-thriller, the kind we were flooded with in the 90s in which an outlier enters the life of someone who has something they want, recalling Single White Female and The Talented Mr Ripley as well as something more recent and comedic like Ingrid Goes West. Russell takes this formula and extracts most, if not all, of the heightened genre elements to give us something a little more grounded, dialogue more rooted in reality and a canny realisation that murder isn’t always needed to create menace.
