REVIEW OF THE FILM STALKER (2022)

 

Despite having a fairly generic title, Tyler Savage's Stalker was a pleasant surprise. I was looking for a good thriller when this small indie film arrived to brighten my day.

We enter this Californian universe with a checklist of "things you aren't supposed to do if you arrive in a town like this," but good characters forced me to set that mundane list aside. Things happen in Stalker, and they almost seem inevitable given the transparency of its lead. Add to that a good script and a fancy yet humble style of filmmaking, and you have a very good thriller that will make you want to meet new people. And then some.

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Andy Escobedo recently ended his relationship. He's relocated from Texas to California in search of new adventures in Hollywood. He is a gifted musician, but he chooses to remain anonymous by working as a tutor. Andy is also a little lonely. He spends his nights looking through his photos, where an ex-girlfriend pops up every few seconds.

But he soon meets a girl. Her name is Sam, and she appears to be an ideal way to socially respawn. Simultaneously, he befriends a rideshare driver who may be too curious for Andy's safety. He is constantly texting. He calls whenever he has the opportunity. Andy decides to ignore him. He should have thought twice. Roger is far too at ease crossing the line of human decency.

Perhaps you read that and immediately thought of every other stalker film you've seen. And perhaps you are correct. Stalker has that vibe from the beginning. And the reason for this is that there is no other option but to go "real," and if you think Stalker begins on an absurd note, think again. These things occur.

Stalker, on the other hand, pushes the envelope with its depiction of an antagonist that outperforms everything we've seen before. The best part is that it progresses slowly towards the final step of decency that we're always hoping to see in these characters. We adore them, and we yearn for their redemption at times. Nothing about Stalker deserves to be forgiven.

Roger is a fantastically written monster. Tyler Savage and Dash Hawkins have created a character with elements of classic stalker villains as well as much more. Sure, the third act is a game changer, but this section of the film never loses its impact. It isn't required. Roger, in the end, is a presence so absurd that it fits with the film's very original conclusion.

Films can be brave at times. This one is correct. It's a classic depiction of a stalking situation that initially makes you laugh with an idiot on the other end of the phone. This is a modern-day version of The Cable Guy, except no comedy is permitted. The way Stalker takes its storyline further down the spiral is a joy in a genre that usually ends when audiences become uncomfortable. There is no stopping in Stalker. It's a fast train ride to a curtain reveal that's as violent and unexpected as it should be.

We're used to hearing about situations like this. Stalking situations are both horrifying and real. The humor tone in this film is high enough to make the experience full of sarcasm and irony. But it makes you reconsider picking up the phone or texting back. Believe me, it does.

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