The well-known expression that there is nothing to fear but fear itself comes to mind at certain moments in Deon Taylor's spiritual, horror flick, Fear. As one becomes more convinced that scary events are indeed reality, it eventually crosses the point of no return. This, and the battle to overcome one's fears are central themes found in the script, written by Taylor and John Ferry. The results are middling. Though the film starts with potential, its rationale is uneven. What could have been an intriguing story is likely to leave some spectators, and especially horror fans less than satisfied.
In the midst of a pandemic, Bianca (Annie Ilonzeh) is pregnant; however, her serious boyfriend and author, Rom (Joseph Sikora) is unaware. Speaking of unaware, Bianca does not know that the reason Rom has taken her to the remote Strawberry Lodge south of Lake Tahoe is to pledge his life to her and propose. But when the moment approaches, Rom's anxiety takes over and the opportune moment is lost. Little does he know that he and the friends whom he has invited to celebrate what is supposed to be a monumental and joyful life decision will have much more to worry about during their weekend getaway, packed deep in the Eldorado National Forest. At first, Rom tries to shrug off the teasing from his buddies that comes from his failed proposal and is determined to enjoy the relaxing setting. After all, they are there for the whole weekend, and they have the inn all to themselves. Or do they? Another issue presents itself when it is discovered that Lou (Tip 'T.I.' Harris) appears sick. And with some friends already on edge about a health crisis, concern gives way to paranoia, and with that, challenging and controversial decisions. Before the innkeeper takes off, she leaves her guests with some complimentary wine. But maybe it isn't wine. It tastes horrendous, and whatever it is, it marks a ceremonial end to any relaxation they had planned.
Even with a run time under ninety minutes, Fear sets off deliberately but with potential. Twenty minutes in, audiences may wish for it to pick up the pace; though it is likely a necessary start, even if the editing could have been tighter. When it does set into another gear, the pace is frantic, and the changing of scenes is excellently maneuvered in the film's second half. The cinematography is mostly on point, and the make-up team deserves some special credit, but it's not enough to make up for the head-scratching elements throughout the film. One of these is the argumentation. Some of the characters' decisions to act in the way they do defy logic, and in some cases, their own words, uttered minutes prior. Are they scared about the issue discussed or not? Predictability is another problem, though it doesn't kill the film. Once viewers witness the friends around the bonfire sharing what they dread most, it takes out the question of what, and becomes merely a question of when. Beyond this, the film just doesn't live up to its title, as this horror film doesn't deliver enough fright, and the jump scares are few, relatively speaking. Fortunately, the performances of Ilonzeh and Sikora as the primary couple help give credence to the otherwise uneven acting. Iddo Goldberg, as Michael, gives the best performance among the ensemble cast.
The film's conclusion may not be satisfying to some, but others will enjoy the talking points it serves up. One of these questions is whether or not faith conquers fear. The answer may not be clear cut, at least not here. Fans of the genre may find it worth a watch but even if they do, will have plenty to critique as it seems to provide more questions than answers. It's passable, but moviegoers shouldn't be afraid to skip this one either, or at least wait and watch this one at home.