REVIEW: Blinders (2020) – FrightFest 2020 Digital Edition

dir. Tyler Savage.

There’s a scene around the half-way mark of Blinders where a murder is committed. It’s a typical street, a killer’s inside the house, and when he strikes his victim screams. Cut to outside, and a passerby walks her dog, distracted by her phone.

This idea of distraction – particularly by technology and social media – is at the heart of director Savage’s delightful psycho-thriller. As the title suggests it is a film constantly fascinated with the act of seeing – or rather not seeing – and what kind of rotten fruit this solipsism bears.

Moving from Texas to LA, tutor Andy (Vincent van Horn) is looking for a new start after his long-term relationship falls apart. On his first night in town he goes to a bar and meets Sam (Christine Ko), but on the taxi-ride back to her place the driver seems a little off. Little does Andy know that this stranger soon takes an unhealthy interest in him, and begins harvesting his personal information online.

Tech-phobic horror isn’t new, though with widespread hacking, security breaches and the weaponised misappropriation of personal data by Cambridge Analytica et al there is something in the zeitgeist about the vulnerability we expose ourselves to by living so much of our lives virtually. Conversely the inauthenticity to our digital existence – our lives curated to present idealised versions – perhaps betrays an inherent narcissism: albeit one that’s socially accepted. As one one of Andy’s students says after examining his Instagram, perhaps he shouldn’t take so many selifes.

So if everyone’s online but everyone’s lying, the question about what is real is unclear. Taxi-driver Roger (Michael Lee Joplin) might be an Uber villain, but his repeated refrain that he hates dishonesty stings. In an age of fake news, Twitter dog piles and endless social performance doesn’t everyone yearn for something genuine? Or are we also too blinded to see clearly.

  Tim Coleman

BLINDERS has its World Premiere at FrightFest 2020 Digital Edition on 31st August 2020.

Published by Tim Coleman

Film critic. Screenwriter. Academic.

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