Osgood Perkins horror films have been at the center of critical conversation, especially with the release of his latest work, ‘Keeper,’ which arrives just 16 months after ‘Longlegs’ left a strong impression on audiences. The new movie, featuring Tatiana Maslany as Liz and Rossif Sutherland as Malcolm, finds the director once again immersing viewers in a world heavy with atmosphere, but light on narrative satisfaction, as ‘Keeper’ struggles to bring substance to its intriguing premise.
Perkins, acknowledged for his dedication and intense pace, attempts to elaborate on his reputation as a stylist in contemporary horror. This time, however, his third directorial effort within a short span demonstrates not only his prolific output but also the challenge of maintaining consistent quality. ‘Keeper’ teases the audience with hints of greatness, but fails to materialize them into a coherent experience.
The Story Falters Despite a Promising Setup
‘Keeper’ opens with Liz and Malcolm embarking on an anniversary trip to a secluded rural cabin, the kind of setting characteristic of classic haunted house and psychological horror tales. Rather than offering a clear trajectory, the story stalls, relying on a repetitive mix of half-realized ideas and familiar genre visuals. Perkins incorporates touches from both the haunted-house tradition and troubled-relationship stories, but the film spends much of its runtime hesitating—unsure of its own focus or themes.
As Liz settles into the unsettling surroundings, her getaway quickly morphs from a celebration into a tense, uncertain ordeal. Unanticipated disturbances disrupt their time together, yet the script grants Maslany few genuine opportunities to develop her role, and the situations she faces never fully build to the dread that Perkins tries to evoke. The narrative drags its feet, generating a feeling that both the protagonist and the movie itself are trapped in place, with the supposed escalation failing to land.
Claustrophobia and Style Take Precedence Over Substance
Perkins expertly establishes an atmosphere of claustrophobia, echoing Liz’s own sense of confinement during her stay in the cabin. The film’s rhythm feels as repetitive and stifling for the audience as the environment is for his characters, with melodramatic exposition and ominous dialogue that lack meaningful payoff. Perkins’ visual skills remain evident; he continues to transform ordinary images into unsettling, nearly abstract works. However, in ‘Keeper,’ this flair is undercut by a reliance on sequences that dissolve into ambiguous dreams or hallucinations, ultimately reducing their impact.
Despite these issues, there is still a lingering curiosity about the mysteries surrounding Liz, which manages to sustain some degree of interest. Perkins’ talent for visual composition and montage is clear, even if the narrative support is uneven. Repeatedly, though, the film sabotages its own tension, draining potentially frightening moments of their intensity through vague or inconclusive storytelling.
‘Keeper’ Blends Styles but Struggles to Achieve Cohesion
Following the more successful ‘Longlegs’ and, to some extent, ‘The Monkey,’ Perkins tries to balance the ambiguous dread and well-defined metaphors that characterized those previous efforts. Unfortunately, ‘Keeper’ lands in an awkward space between these approaches, failing to satisfy the demands of either style. The result is a muddled tone that neither frightens nor provokes reflection, leaving the film stranded in a space of indecision.
Rather than embracing the strength of ambiguity, ‘Keeper’ ultimately spells out its intentions by the end. Perkins appears to aim for commentary on modern relationships, but this abrupt shift pulls focus to earlier elements that were insufficiently explored, such as gender dynamics, class, and power imbalances. The bold final revelations feel unearned, since the groundwork that would make them resonate remains underdeveloped.
Characters Serve Concepts, Not Genuine Human Drama
The film’s central figures—Liz, portrayed by Tatiana Maslany, and Malcolm, played by Rossif Sutherland—are reduced to archetypes, representing ideas and ideologies more than fleshed-out individuals. Brief appearances by other characters do little to deepen the story, since their presence is designed to advance themes rather than create authentic, emotional stakes. As a result, the viewer is left searching for relatable humanity in a sea of symbolism and conceptual gestures.
This sense of detachment reflects a broader challenge with the “elevated horror” genre that has emerged in the wake of Jordan Peele’s ‘Get Out.’ Perkins, like other filmmakers working in this space, seems more concerned with delivering societal commentary or clever inversions than crafting characters who feel authentic and complex. When the people onscreen are perceived as stand-ins for ideas rather than fully realized humans, neither eerie visuals nor narrative twists can instill the necessary emotional connection.
A Missed Opportunity for Osgood Perkins
Throughout ‘Keeper,’ Perkins showcases technical proficiency and a knack for unsettling imagery that has become increasingly expected from his projects. Nonetheless, this latest addition to Osgood Perkins horror films is unlikely to satisfy those craving either deep scares or meaningful drama. Instead, it highlights the risks of prioritizing style and intellectual conceit over emotional substance—especially in a genre where the human element is often the true heart of the experience.
‘Keeper’ is scheduled for theatrical release on Friday, November 14. Whether Perkins will recalibrate following the criticism received here remains to be seen, but the director’s willingness to experiment, even if sometimes to the film’s detriment, ensures that his next moves will still be worth watching for keen followers of contemporary horror and for fans of Tatiana Maslany, Rossif Sutherland, and the evolving genre landscape.
