written by: Curry Barker
produced by: James Harris, Haley Nicole Johnson, Christian Mercuri, and Roman Viaris
directed by: Curry Barker
rated: R (for strong bloody violence, grisly images, sexual content, pervasive language, and brief graphic nudity)
runtime: 109 min.
U.S. release date: May 15, 2026

After watching writer/director Curry Barker’s feature-length directorial debut, “Obsession”, I thought to myself, “They are missing out if they don’t market this with the tagline, ‘Be Careful What You Wish For”, but the official tagline, “Be Careful Who You Wish For” for the movie is actually more appropriate. That’s because the young man’s wish in this unsettling, twisted horror flick has a wholly unexpected and alarming impact on someone else. Granting wishes has been around as long as fairy tales, often accompanied by a degree of understandable caution for the wisher. Barker updates that longstanding tradition while also riffing on The Monkey’s Paw,  a short horror story written by W.W. Jacobs published in 1902 that finds three wishes fulfilled with enormous repercussions. While there are darkly comedic moments incorporated into “Obsession”, what stands out is how grim and gutsy things get as the filmmaker and his actors lose themselves to this unsettling tale of despair.

Shy and sensitive music store employee, Baron “Bear” Bailey (Michael Johnston), has had romantic feelings for his childhood friend and co-worker Nikki Freeman (Inde Navarette) for quite some time, but he hasn’t acted on those feelings at all. The young man can’t muster the courage to ask her out on a date or hang out with her apart from his best friend, Ian (Cooper Tomlinson), and another co-worker, Sarah Harper (Megan Lawless), the latter of whom carries a torch for Bear. When Nikki announces she’s quitting her job to start anew, the friend group decides to get together to wish her farewell. Bear decides to show up with a going-away gift, and stops at a mystic shop since Nikki is apparently into crystals, but the selections are either too pricey or he’s wracked with indecision.

Instead, he purchases a kitschy 1960s antique toy called One Wish Willow, a six-inch twig-like object that claims to grant whatever wish you make after you break it. While buying it, the clerk (Haley Fitzgerald) mentions that customers who have bought it have returned to complain, stating the results are too extreme. While he does get a chance to spend some private time alone with Nikki after the group meets for drinks, Bear is still too timid to tell her how he feels, leaving him alone in the car after he drops her off with the gift he forgot to give her. Right then, he decides to snap it himself and asks that Nikki love him more than anything in the world.

In an instant, Nikki changes, becoming completely focused on Bear. At first, he loves the situation, thinking this is what he’s always wanted, and the two embark on an intense relationship that confounds Ian and Sarah. However, that doesn’t last long, as Nikki starts exhibiting bizarre behavior, like staring at Bear while he sleeps or waiting outside the bathroom while he uses it. Soon enough, Nikki starts to come undone, growing more possessive and even violent as Baron recognizes his wish-making mistake.

Bear calls the customer support line for the One Wish Willow box, hoping to somehow alter the wish, and the casual voice (Barker) on the other end says the wish will only expire when Bear or Nikki dies. Obviously, Bear is in over his head, and not only is he in danger, but he’s also placed someone he loves in danger, with Nikki being trapped by his wish, which is more like a curse. It’s during that call to customer support that we (and Bear) learn another horrifying aspect of this wish: the real Nikki is trapped in some hellscape she can’t escape, while her physical form houses someone possessed by Bear’s every word and move. It doesn’t take long for us to realize that not only is Bear the protagonist here, he’s also the antagonist, intentional or not.

During the film’s second act, as Nikki’s behavior takes a dark turn, is when we really see what an impressive performance Navarette delivers. At times, Nikki snaps out of the spell, much to her horror, and when she’s jerked back under the grasp of the wish, it’s as if watching someone being abducted from within. It’s chilling stuff, especially when Bear witnesses it, because he’s able to see what he’s done to Nikki. Both Johnston and Navarette are phenomenal together, with Johnston’s Bear helplessly reacting to Nikki’s disturbing changes, showing legitimate fear. But Navarette is the star here, and there are many moments when she is an absolute standout; some are heartbreaking, but most are jaw-dropping because of what’s happening in the story and considering where the actor has to go to get there.

Lawless is also great as Sarah, a character who serves an important role as the type of real mutual connection Bear could have. She is someone who has been a confidant to Bear and truly cares about him as a person. There’s also an attraction there that he can’t see since he only has eyes for Nikki. Her character adds a familiar thematic element: how, sometimes, we are blinded by love and unable to see the opportunities right in front of us, but it’s one that offers an important contrast to the overall story.

Many will see the influence of other recent horror flicks on Barker’s approach here. I get that, and I’m alright with it, when the presentation is this confident and riveting across the board. The director also handles editing duties, which are synchronized with cinematographer Taylor Clemons’s impressive work. The use of darkness is important to Nikki’s unsettling change, whether she’s standing on her front step or standing in Bear’s bedroom watching him sleep. It’s as if a shroud of nothingness has enveloped her and transformed her into a possessed vessel that’s most comfortable in the shadows. Freak-out scenes and jump scares are utilized effectively during this bleak, macabre tale without feeling gimmicky or overstaying their welcome.

Through it all, viewers are wholly invested, primarily thanks to the two lead performances and the way Barker’s screenplay keeps us guessing about the next gnarly twist. At times, it feels like Barker has padded the production a bit by adding more time to the endeavor, but his style and deranged love for the genre are quite intoxicating. “Obsession” is a strong feature from Barker, presenting the filmmaker as a talent to watch, and watching him squeeze a refreshing, albeit twisted tale of wish fulfillment is a blast.

RATING: ***1/2