The Unseen

Writer/director Gary Sinyor spent over a decade developing this unsettling thriller, which overcomes the odd plot blip to provide some poignant insights into the psychological consequences of grief.

Like a lot of paranoid suspense films, The Unseen works best when its menace is indeed unseen.

Gary Sinyor's film has a basic but effective way of jangling its viewers' nerves at selected moments. One thing the visual trickery can't blot out, though, is the plot's unhelpful daftness.

The film lurches into conventional horror-thriller territory as it progresses, though there are interesting moments ...

A drama of upper-middle-class menace that can't quite bring itself to be a full-on slasher movie, this has a few too many clichés but offers some creepiness and decent performances.

What The Unseen lacks is Roeg's economy... The performances are all good though, and the sterile modernity of both the Shields' and Paul's respective domiciles suits these peculiarly alienated people who, unseen, haunt each other's homes.

Sinyor's film is turgid, flabby and - despite some committed performances and great ideas - toothless, with neither tension nor bite.

A sincere effort but it all feels entirely predictable and underwhelming.

A portrait of grief and guilt that's only mildly engaging, until it morphs into a wannabe psychological thriller and turns limp, laughable, and just plain icky.

A committed central performance from Jasmine Hyde can't quite save this half-baked thriller that matches jarring tonal leaps and narrative ineptitude with unfortunate echoes of superior films.

Due to issues with pacing and control of the narrative, it doesn't quite come together, and the necessary chill isn't properly refrigerated.

The final act stumbles once or twice, but it's engaging, tense, the conclusion is earned and affecting, and [Jasmine] Hyde's superb performance carries it through any wobbles.