Sometimes a film just needs an interesting premise that’s executed well, and Randall Okita’s latest feature has exactly that. As the opening establishes, aspiring skier Sophie (Skyler Davenport) has her hopes dashed upon losing her eyesight. In order to make money, she cat-sits at the secluded mansion of a rich client where matters grow complicated when three intruders break in.
While focused on unlocking a hidden safe, the home-invaders are unaware the house is occupied, leaving Sophie to try and navigate the unfamiliar space. Her only help comes from army veteran Kelly (Jessica Parker Kennedy), who vocally guides Sophie via an app which offers visual assistance to the blind.
They initially bond during unique circumstances, when Sophie accidentally locks herself out of the house located far from other neighbours. As Kelly helps Sophie find a way inside, their clashing personalities soften and the determined women begin opening up to each other. It helps that the performers wonderfully convey their characters, be it Kennedy embodying Kelly’s drive to help despite not being physically there or Davenport capturing Sophie’s desire to prove herself.
Screenwriters Adam Yorke and Tommy Gushue characterise Sophie as somebody wishing to prove her condition isn’t limiting, and that she can still do stuff herself. Because she gets treated condescendingly, Sophie acts guarded and doesn’t wish to rely on others for help. This is why she video-calls a friend once the owner leaves the lavish home, to map out the place so she has an idea of the layout to navigate herself around, while also finding an expensive bottle of wine to steal. Sophie justifies the act as a middle-finger to how others treat her, while also needing the money from selling it on.
As a cat-and-mouse game occurs, Okita captures the tension to convey the situation’s severity while Sophie learns it’s okay to ask for help and trust others. Interesting routes are taken to prevent the premise from going stale, although the less effective elements are when it becomes too convoluted. This is especially true of the finale when an additional element could’ve used more finesse for its inclusion, although that doesn’t detract from this effective spin on the home-invasion thriller.
While focused on unlocking a hidden safe, the home-invaders are unaware the house is occupied, leaving Sophie to try and navigate the unfamiliar space. Her only help comes from army veteran Kelly (Jessica Parker Kennedy), who vocally guides Sophie via an app which offers visual assistance to the blind.
They initially bond during unique circumstances, when Sophie accidentally locks herself out of the house located far from other neighbours. As Kelly helps Sophie find a way inside, their clashing personalities soften and the determined women begin opening up to each other. It helps that the performers wonderfully convey their characters, be it Kennedy embodying Kelly’s drive to help despite not being physically there or Davenport capturing Sophie’s desire to prove herself.
Screenwriters Adam Yorke and Tommy Gushue characterise Sophie as somebody wishing to prove her condition isn’t limiting, and that she can still do stuff herself. Because she gets treated condescendingly, Sophie acts guarded and doesn’t wish to rely on others for help. This is why she video-calls a friend once the owner leaves the lavish home, to map out the place so she has an idea of the layout to navigate herself around, while also finding an expensive bottle of wine to steal. Sophie justifies the act as a middle-finger to how others treat her, while also needing the money from selling it on.
As a cat-and-mouse game occurs, Okita captures the tension to convey the situation’s severity while Sophie learns it’s okay to ask for help and trust others. Interesting routes are taken to prevent the premise from going stale, although the less effective elements are when it becomes too convoluted. This is especially true of the finale when an additional element could’ve used more finesse for its inclusion, although that doesn’t detract from this effective spin on the home-invasion thriller.
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