Home invasion thrillers are nothing new in the film industry, but the last few years have seen a shift in how they are told. A number of years ago, the stories took place within a more action-based playground and featured whole families terrorised by criminals (Trespass, Hostage) with it left to the family patriarch to save the day. More recently, these stories have opened, shifting tact to tell stories of women placed into the position of both tormentor and hero, Breaking In and Becky being prime examples. It’s a positive move and one that has helped push the sub-genre’s narrative forward, paving the way for yet more diversity in the way in which these stories are told, and about whom they are about.
One such filmmaker that took the opportunity to change things up further is Mike Flanagan. His movie, Hush, placed a deaf-mute woman into peril and in doing so created a film that had audiences everywhere talking about it. The hook of the lead being unable to hear or communicate with the attackers really captured attention and burst the door wide open to further diversity amongst these films. Randall Okitas’s See for Me sticks closely to the formula presented by Flanagan, although it switches some elements around as it tells the story of a partially-sighted cat-sitter who requires assistance from a “help me see” app (named See for Me) after the property is targeted by thieves. Comparisons between See for Me and Hush are inevitable given the impaired lead character, but See for Me explores new narrative territory that makes it a delectable new addition to the home invasion story.
Outside of the murkier narrative, See for Me has the added authenticity of having cast a visually impaired actor, Skyler Davenport, in the lead role. As good as it is for paving the way for stories featuring people with disabilities, Hush did come under fire by some for casting an non-disabled actor as the deaf-mute protagonist. Davenport playing Sophie proves that there is nothing stopping the industry from casting within the ability of the written character, and also demonstrates how much richer it is for a viewer knowing that the performance is one hundred percent authentic.
Sophie isn’t just a token inclusivity character either. The role has been expertly written and does everything it can to not paint Sophie as a victim. Sophie is a strong person, fully capable of thinking for herself, and who can be somewhat stubborn when she has made a decision, a source of frustration for those closest to the character. Prior to losing her sight, Sophie was an olympic level skier, and it is that spirit of an Olympian that makes her so resilient. This is not a character that willingly asks for help, Sophie being almost stilted in her desperation for independence. This drive isn’t helped by many around her, strangers being particularly patronising, which spurs Sophie further down a solo road. And so, there’s an interesting dynamic when faced with no other option than to ask for help from stranger Kelly (Jessica Parker Kennedy), via the app See for Me.
Whereas Sophie is fiercely independent, Kelly is a team player. The first glimpse the audience has of Kelly is of her playing a co-op game online. She’s trying to strategize with her fellow players and the simple scene sets up the character’s willingness to help. This sense of unity and camaraderie is further confirmed when Kelly reveals a background in the military. The dynamic between both Kelly and Sophie is instantly electric. Sophie initially calls the app after getting accidentally locked out of the property she is looking after, and needs help breaking back in. There’s a warmth from Kelly, one that instantly begins to melt Sophie’s walls, as finally there is a stranger willing to treat her as a person and not a delicate piece of china. The next time they speak, when Sophie needs help escaping from the group that has entered the house, the mood changes as Kelly shifts immediately into military mode. Portions of these scenes play out from Kelly’s vantage point, mirroring the gameplay seen earlier, the whole scenario working as an immersive, real-life first-person shooter for Kelly, a playground in which she excels.
Structurally, See for Me pivots away from that of many home invasion films, by giving Sophie something to do other than simply survive. Instead of the usual game of cat and mouse stretched to suit the runtime, writers Adam Yorke and Tommy Gushue give their lead character more material to work with. Sophie isn’t quite the innocent that the audience is led to believe and the greyness surrounding the character’s own morality instils an element of intrigue so often missing. Conversations between Sophie and Kim Coates’ crime boss sizzle and raise interesting questions and conundrums for the viewer to tie themselves in knots with. It’s always refreshing when the protagonist of the story isn’t squeaky clean or cookie-cutter pure and Sophie is a perfect example of how much more interesting this approach can be.
From a technical standpoint See for Me is tightly made, director Randall Okita hugging to the shadows to generate maximum atmosphere. Moments of Sophie wandering through the house are rife with tension, Okita keeping the soundscape quiet, almost silent, to push this even more. It gets so intense in some places that the audience unknowingly finds themselves holding their breath and tensing their muscles. This extreme intensity cannot and does not last the distance however. At several points momentum is either lost, or a plot aspect becomes too convenient (the battery life of the phone being a key one) that the illusion is shattered. There are also a few patches where everything gets a little saggy; See for Me would have perhaps benefited from a stricter edit here and there.
Proof that diversity and inclusivity doesn’t have to be a gimmick, See for Me builds upon its premise to create an absorbing home invasion thriller that challenges the viewer’s perceptions. Both the central performance from Davenport and the supporting turn from Parker Kennedy are excellently realised, their partnership added some much needed warmth to the chilling scenario and location. Add to this some expertly executed scenes of tension and See for Me becomes a fresh and entertaining, dread infused and darkly laced home invasion chiller.
See for Me
Summary
An excellently constructed home invasion crime thriller with a wickedly dark edge.
Signature Entertainment presents See for Me on Digital Platforms 24th January. See for Me is available in the US now.
