Sneha Jaiswal's Blog, page 51
February 12, 2025
The Death of Ivan Ilyich: Book Review
Sneha Jaiswal (Twitter | Instagram)
“Always the same. Now a spark of hope flashes up, then a sea of despair rages, and always pain; always pain, always despair, and always the same.”
The Death of Ivan Ilyich by Leo Tolstoy is the kind of literary work that might have stirred great admiration in me as a literature student back in my college days. But reading it in 2025, far removed from the idealism of college life, this little novella about the futility of living a “proper” life felt like reading just another extended rumination on someone’s existential crisis. That said, Tolstoy’s ruminations have a philosophical depth which keeps you turning the page, even though the ideas seem familiar. If you’re in the blush of youth (in your early 20s or younger), it’s best to read this book now rather than leaving it for later in life. Although, perhaps, it might have a different kind of resonance with older readers, depending on their past readings, of course.
Less than 100 pages long, The Death of Ivan Ilyich follows the life and death of its protagonist, Ivan Ilyich, a senior judge in Moscow. The novella opens with the announcement of his death, and those connected to him seem more interested in how his demise benefits them. Ivan’s colleagues and juniors eye the vacancy of his high-ranking post, while his wife is relieved to receive a pension without having to deal with the “old crone” anymore. Only Ivan’s young son, still in school, truly grieves his father’s passing.
But soon, The Death of Ivan Ilyich rewinds time, introducing Ivan as a young man and tracing his rise through the legal ranks. Born into a wealthy family, he is the middle child, less successful than his older brother but far more accomplished than the youngest. He lives as expected, securing the right education, attaining the right job, marrying the right woman, and settling into the bourgeois life modeled by those around him.
This is my first time reading Tolstoy, and his style reminded me a little of Fyodor Dostoevsky, a contemporary of his. Although Tolstoy doesn’t ramble or ruminate too much through his characters in the text, which could also be because this is a small novella. The Death of Ivan Ilyich, at its core, is about a man with a chronic illness who fears his approaching death and realizes how futile his perfect life seems in retrospect. He despises his wife, Praskovya, a materialistic woman consumed by socializing and spending his money, although he himself is quite the same. To escape from his wife’s nagging, Ivan immerses himself in work or card games with colleagues, maintaining the facade of a content domestic life – even convincing himself that everything is as it should be. But in his final days, as his illness worsens and the certainty of death looms, he begins to question the way he lived, growing increasingly desperate and hopeless. Tolstoy clearly intended for readers to draw deeper philosophical conclusions, as he weaves in quite a bit of religious chatter through the book towards the climax – but this is my simpler take.
Rating: 3 on 5.
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The Roshans: Bollywood Through Roshan-Tinted Glasses
Sneha Jaiswal (Twitter | Instagram)
The first episode of the Netflix mini-documentary series The Roshans was undoubtedly the most immersive and fascinating for me, as it tells the story of Roshan Lal Nagrath – a music director, father to renowned brothers Rakesh and Rajesh Roshan, and grandfather of Bollywood star Hrithik Roshan. Roshan Lal Nagrath was only 50 when he passed away in 1976, but before that, he delivered several hits songs in Bollywood classics that remain immortal. So for Bollywood fans like me, who didn’t know much about Roshan Lal Nagrath, the documentary certainly offers an interesting slice of film history, told through the interviews of not just surviving members of the Roshan family, but also industry bigwigs, including music stalwart Pyarelal Ramprasad Sharma, part of the Bollywood composer duo ‘Laxmikant-Pyarelal’, who composed music for over 700 movies.
Four episodes long, the documentary is divided into four clear chapters, exploring the bollywood family’s journey through generations. The first, titled Rahen Na Rahen Hum, explores how the now-famous Bollywood family traces its roots back to Roshan Lal Nagrath’s journey into the music industry in the late 1940s. His first break as a music director came with the 1949 film Neki Aur Badi, starring Madhubala, Geeta Bali, and Kidar Sharma.
The documentary opens with Hrithik Roshan, dressed in a crisp blue shirt, sitting with a cassette player as he reminisces about the grandfather he never met – the music maestro who has always been a part of his life and childhood memories. He fondly recalls growing up listening to Roshan Lal Nagrath’s compositions alongside other Bollywood legends, including artists like Asha Bhosle and Pyarelal, who had worked with his grandfather.
Episodes two and three chart the professional journeys of brothers Rajesh Roshan and Rakesh Roshan in the film industry. While Rajesh followed in his father’s footsteps, Rakesh Roshan – the better-looking of the two – initially pursued acting before ultimately stepping behind the camera as a director. And the last episode focuses on Hrithik Roshan’s career trajectory as an actor, before which, he would often assist his father on the sets. From his memorable debut in ‘Kaho Na Pyaar Hai’, to working with his father again in ‘Koi Mil Gaya’, Hrithik and several others – from Sanjay Leela Bhansali to Zoya Akhtar – recall the kind of lasting impact his first film had. I mean, I was barely 10 when it came out and remember the film being a huge hit among my peer group (including me). We hadn’t seen any Bollywood actor dance like Hrithik on the big screen and loved mimicking the iconic hook step from Ek Pal Ka Jeena at parties and gatherings.
Episode 3 is likely the most packed with interesting and forgotten tidbits about Bollywood movies – especially for millennial and Gen Z viewers. One such revelation is how Shah Rukh Khan initially backed out of Karan Arjun (the 1995 blockbuster), directed by Rakesh Roshan, because he wanted to play Karan, not Arjun. However, after Rakesh Roshan cast Aamir Khan as Arjun, SRK had a change of heart and asked to play Arjun, the role that was originally his to take. Shah Rukh Khan is also part of the interviewees in ‘The Roshans’, and recalls how he didn’t really understand Rakesh Roshan’s vision for the film and didn’t expect it to become such a big hit.
The biggest takeaway from The Roshans might be just how tightly knit Bollywood families are and the unwavering support insiders receive. The Roshan brothers reflect on the hardships they faced after losing their father at a young age while still in their teens. However, with the Roshan name as their calling card, doors easily opened for them.
Of course, since this documentary series is produced by the Roshan family, it leans toward being slightly over-indulgent, painting an entirely positive picture of the Roshans. There’s no mention of the plagiarism allegations against Rajesh Roshan, who has been accused of lifting several songs. Nor is there any reference to the plagiarism charges surrounding Rakesh Roshan’s blockbuster Koi Mil Gaya, which starred Hrithik Roshan and faced accusations from foreign critics of being heavily inspired by Steven Spielberg’s E.T. Anyway, plagiarists or not, I have to admit that several songs composed by Rajesh Roshan would easily make it onto my list of favorite Bollywood music – like Dil Kya Kare, sung by Kishore Kumar in the film Julie.
Well, if you’re a big Bollywood fan, or just a devoted Hrithik Roshan admirer, The Roshans is an entertaining, feel-good mini-series that chronicles the legacy and rise of one of Bollywood’s most prominent families.
Watch ‘The Roshan’ on Netflix.
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February 11, 2025
Paul Rudd & Tim Robinson Are BFFs in ‘Friendship’ Trailer… Kinda
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Well, well, well… we can’t decide if this is a serious psychological drama meant to spook viewers or a dark comedy that should have you rolling on the floor. But based on the pull quotes from early critic reviews for the movie Friendship, it’s supposed to be the latter.
Tim Robinson plays Craig Waterman, a married guy who enjoys nothing more than sinking into his couch during his free evenings. So when his wife accepts an invite for Craig to hang out with their new neighbor, he’s less than thrilled. Enter Paul Rudd as Brian, the effortlessly charming new neighbor who already seems to have a tight-knit friend group. Craig is quickly pulled into their circle, enjoying his newfound camaraderie, until Brian suddenly declares he doesn’t want to be friends anymore. That’s when all hell breaks loose.
Written and directed by Andrew DeYoung, the trailer for Friendship starts off like a heartwarming teaser for a feel-good movie about a lonely, boring guy who finally finds his people and transforms his life. Then – bam! – the second half swerves like a sudden car crash, turning into a thriller where your ex-friend goes full psycho stalker on you. It’s a confusingly interesting trailer which leaves you wanting to see the movie.
Watch the trailer on YouTube, it’s also embedded below.
Bokshi Review: Witchcraft Horror With Deep Roots
Sneha Jaiswal (Twitter | Instagram)
A troubled teenager is packed off to a boarding school to escape the spooky shadow of her dead mother, believed to be a witch by her grandmother, only to find herself entangled more deeply into the world of witches, shamans, secrets, and blood sacrifices.
Directed by Bhargav Sakia and written by Harsh Vaibhav, the 2025 horror film Bokshi follows Anahita (Prasanna Bisht), whose school history club excursion to a mysterious prehistoric site spirals into a terrifying nightmare. “Boksi” is a Nepali term used for those who practice witchcraft but also finds mention in Indian mythology. In fact, the writers of the film cleverly weave mythology, folklore, and fantasy to spin this modern horror tale, which draws its strength from cult-like elements.
Bokshi begins by introducing Anahita as a reclusive, shy student, with a bed-wetting problem owing to childhood trauma and recurrent nightmares. When a bullying incident at school turns violent, she is sent by her family to a new school. In a fitting cameo, Swaroopa Ghosh plays Anahita’s authoritarian grandmother, who forbids the teen from having anything connected to her deceased mother. At the new school, Anahita is instantly drawn to a history club and finds herself under the influence of Shalini (Mansi Multani), an alluringly mystifying teacher who is in-charge of a school camping trip into the mountains.
Shot in the pristine forests of Sikkim, Bokshi immediately draws in viewers with its dreamy, hilly landscapes, contrasted by Anahita’s unsettling visions. While reviewing the 2024 horror movie The First Omen, I wrote, “Horror seldom looks this good,” watching Bokshi made me realize how rarely Indian horror films achieve such striking visuals. Tumbbad, Kumari, and Bulbbul are a few titles that come into mind when one thinks of a beautifully shot movie in the genre. However, some of the special effects and makeup in the climactic moments of Bokshi fall short. In one scene, a fake stuffed animal – clearly resembling a soft toy – is used for a violently gory sequence, which feels un-intentionally comedic and breaks the tense mood.
Prasanna Bisht delivers a riveting performance as Anahita, the troubled teen protagonist whose childhood trauma extends beyond the loss of a parent. Struggling to come to terms with her burgeoning sexuality and the shame tied to her bed-wetting habit, Anahita finds herself drawn to Rebecca (Dagi Ngomdir), a fellow history club member fascinated by witchcraft. The two bond during a forest trip, but eerie rituals by local shamans and unsettling occurrences soon turn their excursion into a terrifying ordeal. Mansi Multani is part sinister, part seductive as Shalini, the only person on the trip who is unperturbed by the supernatural events around them.
The second half of Bokshi slows down considerably, making it a challenging watch, even as it features engrossing scenes of local exorcism rituals and traditional practices. The film initially promises an intimate, regionally rooted tale of witchcraft, black magic, and perhaps hidden vendettas, but it ultimately transforms into a grand nature versus humanity narrative – so ambitious in scale that it feels disconnected from Anahita’s personal struggles, which viewers are bound to grow invested in. The climax is intense and blood-soaked but ultimately underwhelming, partly due to the unconvincing visual effects.
Despite its flaws, Bokshi is worth watching for horror fans seeking a fresh story infused with folkloric elements.
Rating: 3 on 5 stars.
Also Read: Castlevania: Nocturne Season 2 Review – Near Immaculate! (Audio version below)
February 10, 2025
Sumala Review: If Chucky and M3GAN Had a Demon Baby…
Sneha Jaiswal (Twitter | Instagram)
Okay here’s what I liked best about the Indonesian horror movie Sumala – it’s got a coherent story, serving viewers both the origin story of its primary ghoul/ghost/demon called Sumala, while also explaining why she wants to brutally murder everyone in her village, including little kids. The makers clearly mention that the story is based on a real urban legend, so writers Betz Illustration, and Riheam Junianti already had a lot of material to work with. But unfortunately, the writers and director Rizal Mantovani rely on over the top gory scenes to gross out viewers, instead of delivering a spine-chilling horror story. That said, it can still be a guilty pleasure for horror fans looking for a campy flick.
Set between the 1940s and 1970s, Sumala opens with the ghastly murder of a young boy who was playing ball with a friend—despite warnings from the village elders not to stay out after sunset. Locals believe he was killed by Sumala, a demonic girl who haunts the village. Flashbacks to the 1940s unravel the tragic story of twin sisters, Kumala and Sumala, played by actor Makayla Rose Hilli.
The girls are born out of black magic after their mother, Sulastri (Luna Maya), a desperate and barren woman, seeks dark forces to conceive, fearing her husband Soedjiman (Darius Sinathrya) will take another wife if they remain childless for another year. A child with special needs, Kumala is treated horribly by her father and bullied by the local boys. Her evil twin, Sumala – a devil’s spawn – takes it upon herself to exact bloody revenge on everyone who was cruel to her sister, including their father.
Child actor Makayla Rose Hilli delivers a fantastic performance as Kumala, the human twin, seamlessly shifting from a helpless, neglected child – brutally punished by her father – to a chillingly possessed girl with murder in her eyes. On the other hand, Sumala – the murderous demonic twin – resembles a human version of Chucky from Child’s Play mixed with the eerie menace of the evil robot M3GAN. The makers reveal the ghoulish form of Sumala in the very first ten minutes of the film, diffusing any suspense or horror over what she might look like.
The rest of the cast is lackluster, with Luna Maya’s Sulastri doing little more than silently watching her cruel husband, Soedjiman, mistreat their daughter. Even in those dialogue-free moments, a stronger actor might have conveyed more depth than Luna Maya’s one-note portrayal of Sulastri. Darius Sinathrya is just fine as the mean dad, but isn’t able to carry the more emotional scenes expected out of him during the climax.
For traditional horror fans, the redeeming factor about Sumala is how the demon gleefully and ruthlessly murders everybody. A lot of those murder scenes are over-the-top, excessively gory, and also highly unrealistic. For those simply looking for a no-brainer horror movie filled with deaths, madness, and some good old melodrama featuring a dysfunctional family ruled by an authoritarian father and a mute mother, this makes for a decent one-time watch.
Rating: 2.5 stars on 5. You can watch the film on Netflix.
Also Read: Castlevania: Nocturne Season 2 Review – Near Immaculate! (Audio version below)
Baban Baban Ban Vampire Episode 5 Review
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Another amusing edition! ‘Baban Baban Ban Vampire’ formally introduced a new character called Sakamoto, and we cannot help but think how at this point, this anime show is turning out to be more entertaining than the highly anticipated ‘Sakamoto Days’, which started airing at the same time on Netflix.
For plot overview, read: Baban Baban Ban Vampire Episode One Review
Episode 4 of Baban Baban Ban Vampire ended with a hilarious twist, wherein Franken, the muscly teen thug tasked by protagonist Ranmaru Mori to keep girls away from Rihito, turns out to be the older brother of Aoi – the very girl Mori is most wary of. And in yet another twist, the episode ends with a vampire-hunter pointing a gun at Mori, making his already bad day even worse.
Titled The Vampire of Fate, Episode 5 of Baban Baban Ban Vampire reveals that the vampire hunter who wants to slay Ranmaru Mori is Rihito’s new high school teacher, Sakamoto. As Mori quickly manages to slip from Sakamoto’s clutches, the rest of the episode focuses on the teacher’s attempts to find Mori’s hideout, which turns out to be a lot easier than expected.
Sakamoto’s character design is reminiscent of 1990s shonen heroes. Despite being just a high school teacher, he has the aura of an action lead, one who could easily pass for an undercover cop. While every character in the series so far is comical and a bit of an airhead, Sakamoto is far more serious, passionate, and driven by vengeance. Turns out, his beef with Mori is somewhat personal. But a climactic twist in the episode reveals that Sakamoto might be a completely different kind of animal than he lets on.
Overall, this was a very fun edition, and leaves viewers with a pretty hilarious cliffhanger.
Watch Baban Baban Ban Vampire on Netflix.
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February 9, 2025
Sakamoto Days Episode 5 Review: Weightshifter & Serial Killers
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Seriously?! Sakamoto burns so many calories in a few seconds that he turns into his former fit and hot self at the end of Sakamoto Days Episode 4. While I thought maybe it was just Mr. Boiled imagining the young Sakamoto in all his youthful glory, the hero actually turns thin out of the blue. Boo!
I mean, okay, this is an exaggerated, over-the-top anime where Sakamoto can catch bullets with chopsticks (or maybe even his teeth if he felt like it) but wasn’t the whole point of this show that a fat Sakamoto can do everything his thin version could? He should’ve bounced back and crushed Boiled with his belly. That would’ve been so much more hilarious than this sham of a thin Sakamoto beating Boiled to a pulp. In fact, he continues to be thin for a while and then reverts to his overweight self after downing a few pork buns. I cannot decide if it’s funny, or insulting, or just disappointing. Maybe if they turn him into a weight-shifter, it would continue being comedic – a guy who can completely alter his weight within seconds. So if he eats a heavy breakfast in the morning, he turns into a sumo wrestler, but if he runs a 20 km marathon in sixty minutes, he turns into a skinny model.
Honestly, I’m starting to lose interest in the show, even though I don’t have the same complaints about the animation quality that many other fans do. It’s not outstanding, but it’s decent enough to not be distracting. But let me not turn this episodic write-up into a full-blown rant and instead quickly write an objective review (from this sentence on).
Titled ‘Source of Strength’, episode 5 of Sakamoto Days actually begins with the fight between new character Obiguro and a drunk Lu, while Shin is being held captive by other armed men. However, the scene soon shifts to the face-off between Boiled and Sakamoto, which is going to have viewers super divided for sure.
Overall, this edition felt especially slow in the first few minutes, even though it’s supposed to be comical, owing to Lu’s drunken shenanigans. But the fights weren’t as fun, part of which could be that the background music does very little to elevate the thrill factor of the violent sequences. The second half of the episode becomes slightly interesting as it introduces the legendary ORDER. If viewers can remember, a hitman mentions ORDER in an earlier episode, claiming it’s a rumored and probably fictional group of super hitmen, hired to deal with other hitmen, and that Sakamoto was once a part of it.
Well, turns out ORDER is real, and its elite squad members are tasked with hunting down a serial killer who is murdering hitmen. How this ties to Sakamoto – who, of course, has taken a pledge not to kill anybody – will be intriguing to see in the next episode.
Watch ‘Sakamoto Days’ on Netflix.
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The Mehta Boys: Boman Irani Plays Usual Shade of Grumpy in Dad-Son Drama
Sneha Jaiswal (Twitter | Instagram)
Ask anybody what they think Boman Irani’s most memorable role is, and they’ll probably talk about the grumpy, authoritarian Professor Viru Sahastrabudhhe, aka Virus, from the smash hit 3 Idiots, or the short-tempered, stern Dr. Asthana from Munna Bhai M.B.B.S., another beloved Bollywood comedy. So for his directorial debut, The Mehta Boys, Boman Irani sticks to what he does best – playing yet another grumpy old man, this time as the hero himself, or, well, the hero’s father, depending on how you perceive the film.
The Mehta Boys starts off by introducing Amay Mehta (Avinash Tiwary), an architect with imposter syndrome working for a big Mumbai firm. During a crucial meeting, Amay learns that his mother has passed away, so he rushes to his hometown in Gujarat, where it becomes apparent that he cannot see eye to eye with his aloof father, Shiv Mehta (Boman Irani). While Amay’s sister, Anu (Puja Sarup), plans to take their grieving father to America, to Amay’s horror, he is stuck with his father for a few days in Mumbai. Will the estranged father and son survive living together or tear each other’s hair out? Well, that’s really the crux of the story, although a filmy subplot about how Shiv inspires Amay to finally grow a spine at work takes center stage in the second half of The Mehta Boys.
Bollywood isn’t new to exploring stormy ‘parent-children’ relationships, ‘The Mehta Boys’ might remind some of the 2022 Bollywood drama Goodbye, starring Amitabh Bachchan, which shares a slightly similar plot – a father navigates the unexpected death of his beloved wife while also dealing with his disconnected children. But Boman Irani is no Big B, and even though he pulls off the role of a grieving husband/difficult father, you can’t help but feel that something is missing. And the slow pace of the film doesn’t help. Besides, though the title hints at a nuanced take on both father and son, the film, like many sentimental Bollywood dramas, ultimately skews toward portraying the younger generation as the primary problem.
The Mehta Boys shines best in moments where the turbulent relationship between Amay and his father is at play. For instance, it’s low-key comical when Shiv keeps turning off the lights in Amay’s Mumbai flat seconds after Amay turns them on, or when he keeps his hand on the handbrake while Amay is driving, displaying his lack of trust in his son. However, these relatable parent-child moments are dulled by the slow pace of the film and the overtly serious tone that pervades most scenes. The intertwining of Amay’s turbulent relationship with his father and his struggles at work feels awkward and even unnecessary. It’s one of those too good to be true tropes, where a single piece of advice from an elder who doesn’t even know much about your field magically changes your life. Sure, the themes of generational conflict and self-discovery are interesting, but don’t blend in a complementary way.
Avinash Tiwary puts his best foot forward in The Mehta Boys, as does Boman Irani. However, the film needed more balance between their characters and a few more laughs to be truly entertaining. Overall, this familiar tale is a decent one-time watch with the family.
Rating: 2.5 on 5 stars. ‘The Mehta Boys’ is on Prime Video.
Read Next: The Calendar Killer Review: Murder, Marriage, and a Long Walk Home
Also Read: Castlevania: Nocturne Season 2 Review – Near Immaculate! (Audio version below)
The Mehta Boys Review: Boman Irani Plays Usual Shade of Grumpy in Dad-Son Drama
Sneha Jaiswal (Twitter | Instagram)
Ask anybody what they think Boman Irani’s most memorable role is, and they’ll probably talk about the grumpy, authoritarian Professor Viru Sahastrabudhhe, aka Virus, from the smash hit 3 Idiots, or the short-tempered, stern Dr. Asthana from Munna Bhai M.B.B.S., another beloved Bollywood comedy. So for his directorial debut, The Mehta Boys, Boman Irani sticks to what he does best – playing yet another grumpy old man, this time as the hero himself, or, well, the hero’s father, depending on how you perceive the film.
The Mehta Boys starts off by introducing Amay Mehta (Avinash Tiwary), an architect with imposter syndrome working for a big Mumbai firm. During a crucial meeting, Amay learns that his mother has passed away, so he rushes to his hometown in Gujarat, where it becomes apparent that he cannot see eye to eye with his aloof father, Shiv Mehta (Boman Irani). While Amay’s sister, Anu (Puja Sarup), plans to take their grieving father to America, to Amay’s horror, he is stuck with his father for a few days in Mumbai. Will the estranged father and son survive living together or tear each other’s hair out? Well, that’s really the crux of the story, although a filmy subplot about how Shiv inspires Amay to finally grow a spine at work takes center stage in the second half of The Mehta Boys.
Bollywood isn’t new to exploring stormy ‘parent-children’ relationships, ‘The Mehta Boys’ might remind some of the 2022 Bollywood drama Goodbye, starring Amitabh Bachchan, which shares a slightly similar plot – a father navigates the unexpected death of his beloved wife while also dealing with his disconnected children. But Boman Irani is no Big B, and even though he pulls off the role of a grieving husband/difficult father, you can’t help but feel that something is missing. And the slow pace of the film doesn’t help. Besides, though the title hints at a nuanced take on both father and son, the film, like many sentimental Bollywood dramas, ultimately skews toward portraying the younger generation as the primary problem.
The Mehta Boys shines best in moments where the turbulent relationship between Amay and his father is at play. For instance, it’s low-key comical when Shiv keeps turning off the lights in Amay’s Mumbai flat seconds after Amay turns them on, or when he keeps his hand on the handbrake while Amay is driving, displaying his lack of trust in his son. However, these relatable parent-child moments are dulled by the slow pace of the film and the overtly serious tone that pervades most scenes. The intertwining of Amay’s turbulent relationship with his father and his struggles at work feels awkward and even unnecessary. It’s one of those too good to be true tropes, where a single piece of advice from an elder who doesn’t even know much about your field magically changes your life. Sure, the themes of generational conflict and self-discovery are interesting, but don’t blend in a complementary way.
Avinash Tiwary puts his best foot forward in The Mehta Boys, as does Boman Irani. However, the film needed more balance between their characters and a few more laughs to be truly entertaining. Overall, this familiar tale is a decent one-time watch with the family.
Rating: 2.5 on 5 stars. ‘The Mehta Boys’ is on Prime Video.
Read Next: The Calendar Killer Review: Murder, Marriage, and a Long Walk Home
Also Read: Castlevania: Nocturne Season 2 Review – Near Immaculate! (Audio version below)
February 8, 2025
Double Vision: Short Horror Film Review
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If a five-minute short horror film delivers one solid spooky moment, we’d like to believe it’s worth a watch, especially for genre fans looking for a quick, eerie distraction. Indie horror short Double Vision by Isabelle Kiser is one such flick.
Kiser not only directs but also stars in this tense little chiller, playing a young woman heading home late at night. On her way, she notices something strange on the street and chooses to ignore it. But what happens when that eerie presence follows her all the way inside her house?
At under five minutes, Double Vision packs in a fair amount of tension within its crisp runtime. Of course, it also squeezes in the classic horror-movie protagonist making dumb decisions trope. Case in point: when the girl realizes there might be an intruder in her home, does she run or call the cops? Nope—she simply heads back to her room. And when she’s almost certain someone is inside? She switches off the light! It’s a hilariously frustrating moment, adding a touch of unintentional comedy to the suspense.
The cinematography is simple and straightforward, with Kiser effectively using light and subtle music to create an eerie atmosphere. While the lighting could have been better in some scenes, the overall experience is enjoyable. So, if you’re in the mood for a bite-sized horror fix or planning a horror short binge, Double Vision is worth checking out on YouTube.
