Imagine being trapped in your childhood home, haunted not just by memories but by a sinister force watching your every move. This is the chilling premise of Other, a film that teeters between psychological thriller and creature feature—and here’s where it gets controversial: it’s the latter that ultimately drags it down. But before we dive into that, let’s unpack why this movie had so much potential.
Other follows Alice (played by Olga Kurylenko), a former model who returns to her childhood home after her mother’s death. What she finds is a house rigged with surveillance, a constant reminder that she’s never truly alone. As a sinister presence lurks in the shadows, Alice is forced to confront not only the physical danger but also the psychological scars of her traumatic past. This dual threat—the unseen watcher and the weight of her mother’s abuse—creates a tension that’s instantly relatable. Who hasn’t wondered, “What would I do if I were completely isolated and under constant threat?”
And this is the part most people miss: the film’s strongest moments are its psychological ones. Alice’s reluctance to have children, initially framed as a desire for independence, reveals itself as a deep-seated fear of repeating her mother’s mistakes. These layers of emotional horror are where Other truly shines, offering a gut-wrenching exploration of trauma and inheritance. But then the monster shows up.
The creature, which attacks people’s faces, feels like a missed opportunity. While the gore effects are well-executed and disturbingly effective, the physical monster undermines the film’s psychological depth. It’s as if the filmmakers couldn’t fully commit to the subtlety of their initial concept, opting instead for a more traditional—and less compelling—horror trope. Is it possible that the monster is a metaphor for the disfigurement of Alice’s psyche? Or does it simply feel like a tacked-on addition?
Director David Moreau, known for his experimental approach (like last year’s one-take zombie film MadS), brings an interesting visual style to Other. Kurylenko’s face dominates the screen, while other characters are often obscured by masks or abstract imagery. This choice is purposeful, emphasizing Alice’s isolation and the fragmented nature of her reality. However, the monster’s presence overshadows these subtler themes, leaving many viewers unlikely to notice the film’s more nuanced elements.
The pacing also suffers, stretching what feels like a short film’s worth of material into a full-length feature. While Kurylenko’s performance is strong, carrying the emotional weight of the story, the horror itself often feels sterile, relying too heavily on jump scares and “gotcha” moments. A random side character, introduced purely for exposition, further weakens the narrative, making it feel lazy rather than intentional.
Despite its flaws, Other has moments of brilliance. The secluded forest setting is beautifully shot, and the film’s conclusion, though silly, is oddly satisfying. It’s clear that Kurylenko is capable of more than just action roles, and her performance here is a testament to her range. But here’s the question: Would Other have been more impactful as a psychological thriller, stripping away the creature feature elements entirely? Or does the monster add a necessary layer of physical horror?
Other begins streaming on Shudder on October 17th, 2025. Whether you find it a thought-provoking exploration of trauma or a frustrating blend of genres, one thing’s for sure: it’s a film that will leave you with plenty to debate. What do you think? Does the monster enhance or detract from the story? Let us know in the comments!
