Writers and directors David Charbonier and Justin Powell, known for their previous works, The Boy Behind the Door and The Djinn, have a talent for crafting single-location thrillers that prioritize suspense and simplicity. Their latest film, Push—previously titled Open House—expands their vision with a larger setting and stylish cinematography, resulting in a mature and intense cinematic experience that captivates audiences with relentless tension.
The narrative follows realtor Natalie (Alicia Sanz), who faces the daunting challenge of selling a sprawling estate that has remained vacant for years due to a horrific murder. Doubts from her boss and the property’s troubled history do not deter Natalie, who has personal stakes in this sale: she is grieving the loss of her partner and is about to give birth. To attract potential buyers, she hosts an open house, but her plans are interrupted when a mysterious visitor, referred to as the Client (Raúl Castillo), arrives. What begins as a routine evening quickly escalates into a nightmare as the Client becomes a lethal threat to both Natalie and her unborn child.
The premise of a pregnant woman confronting a home intruder evokes comparisons to Inside, yet Charbonier and Powell steer clear of rehashing that film’s more extreme elements. Instead, they focus on crafting a narrative filled with constant dread and unexpected genre twists, allowing Push to carve its own path within the suspense genre. The Client’s motivations offer a hint of this film’s distinctive approach, as Castillo embodies a menacing presence, delivering both verbal and physical threats that keep the audience on edge.
Daniel Katz’s cinematography enriches the film with a classic, cinematic quality, while production designer Mars Feehery infuses the expansive estate with a lived-in character that enhances the eerie atmosphere. The filmmakers effectively utilize the large setting, providing Natalie with numerous hiding spots and shadowy corners that lead to innovative scares and gripping confrontations. Notably, an elevator scene exemplifies the duo’s knack for turning common elements into sources of maximum terror.
Push unfolds through a series of escalating suspenseful sequences, culminating in an action-packed finale that allows Alicia Sanz to showcase her character’s fierce determination, transforming Natalie into a relatable and compelling Final Girl.
Despite wearing its cinematic influences prominently, Push maintains an unpredictable edge that keeps viewers engaged. While some plot developments may feel familiar due to the film’s efficient storytelling style, Charbonier and Powell deftly navigate these expectations, offering unexpected turns in Natalie’s battle against the Client. A surprising third-act cameo adds further depth, enriching the film’s narrative landscape.
In Push, Charbonier and Powell strip away any superfluous elements, delivering a taut, thrilling home invasion tale that feels like a frantic chase within its brisk 90-minute runtime. The film’s retro vibe, combined with its strong performances, elevates the tension, ensuring that Push stands out as a masterclass in sustained, visceral suspense.
Related topic:
Sam Mendes Doubts Return to James Bond Franchise
BTS’ RM: Right People, Wrong Place Premieres at Busan Film Festival
“Else”: A Cinematic Exploration of Romance, Fear, and Isolation