Watched this on Netflix. Really liked it. Some genuinely creepy moments here. I will never look at Mark Duplass the same again. Wow.

8/10 (B+)

I pretty much have the same feelings as Mike. It's good. If there's anything that lets the film down, it's the co-main character's stupidity, especially at the end. Sit on a bench facing the lake surrounded by no one? Smart. Good plan! And how does he (and apparently countless others) not book it after the bathtub?

But I really enjoyed the way the movie plays around with jump scares (funny, not annoying!). The movie also doesn't let it's title down and is effectively creepy. The scene where Josef appears behind the glass door is so good that I wonder why most horror films either haven't thought of this or don't do it, or if they do do it add a sudden sound effect in there to cause a jump scare. This film understands that the very fact he's there is horrific enough. It doesn't try to get greedy. I also quite liked the ending when we figure out what's really going on, despite my reservation with the other character's motivations. And Duplass is quite good. Almost too good. Again, why wouldn't anyone run after spending an hour with Josef, ESPECIALLY IF HE GIVES YOU THE $1,000 UP FRONT! I wonder how many times he's lost a grand to someone with a brain. I wonder what his success rate is.

***½ (B+)

The first half of this was really good. Mark Duplass played a creepy mofo well, but the other guy was a dumbass. He made so many bad decisions in the second half without thinking about any of the consequences and you could see his fate coming a mile away. I didn't feel sorry for him in the slightest and I wonder how in the hell are they going to turn this into a trilogy.

I really enjoyed this one. In fact, I would say I almost loved it. Duplass is great here and incredibly creepy and the movie overall is very intense and involving. Wish it got an actual release and wasn't released on Netflix.

A-

A small, clever, droll, and, at times, rather frightening found-footage horror film. It uses the format well, capitalizing on both its subjective potential—granting the viewer a first-person perspective as a character winds through a menacing house, awaiting an assault or a jolting noise—and its objective potential, allowing us to icily observe a major climactic moment from afar, conjuring a sense of voyeuristic surveillance. And Mark Duplass delivers a perfectly peculiar performance.

B