‘Blinders’ Review: Dir Tyler Savage [FrightFest 2020]

Many of us have experienced the horror of moving cities, or even countries, and so know that horrible fish-out-of-water sensation that makes up a big chunk of the first few weeks and months. Director Tyler Savage taps into the insecurities of the experience in his new feature film, Blinders. The story joins tutor and aspiring drummer, Andy (Vincent Van Horn), as he relocates from Texas to Los Angeles following a rather messy break-up. Feeling pangs of isolation, he heads out to a bar where he meets Sam (Christine Ko). The pair hit it off and grab a ride-share back to her place. The driver, Roger (Michael Lee Joplin), takes a shine to Andy and ‘accidentally’ bumps into him again and strikes up a friendship. All is going well until Andy blows Roger off in favour of spending time with Sam; it seems that Roger does not take kindly to being second best.

Back in the early-to-mid nineties, there was a wealth of psychological thrillers that revolved around obsession, infatuation, and stalking. Films such as Fatal Attraction, Single White Female, and The Cable Guy, are just a few shining examples. But as the decade went on, they faded into the background with most attempts to revive them coming across as cheap imitations and thus being panned by critics and audiences alike. Savage, however manages that tricky feat and revives interest in the concept by giving it a modern spin for the Internet age. Here the connection between Andy and Roger doesn’t come from them sharing a house or having been in a relationship. It comes purely from Andy ordering a taxi via an app. Most of us have done it, and seeing the worst case scenario here may make you think twice about ordering one ever again. A similar feeling will be invoked about our use of electronic devices and social media platforms as as Blinders shows just how simple it can be to hijack someone’s digital life.

This brings us nicely to the core of message that Blinders is trying to get out. Our digital self and real-life persona are rarely one and the same and this phenomena is explored through Andy and his use of social media. Online, he portrays himself as a fun-loving carefree guy whom is having a whale of a time. In reality, he’s sad, lonely, and feels the need to hide his hardships from his friends and family back home. In addition to that social duality, Savage also shines a light on just how much information about ourselves is available through the digital world. As demonstrated, it’s very easy to find out where you live, what places you like to eat or drink in, and even when you’re at home and when you’re not. It’s a sobering thought and hopefully one that will encourage audience members to reassess, not only what they share online, but also how they portray themselves. Life would be much easier if we didn’t all feel the need to hide behind virtual avatars, and that would have saved Andy a lot of heartache.

With a story as sinister as this, everything rests in the casting of the protagonist and antagonist; in Blinders, Savage nails the casting of both Andy and Roger. Van Horn has this every man quality that draws the audience to him immediately. The instant connection makes it all the more awful as we watch Roger try to systematically destroy Andy’s life. Counter balancing Andy’s friendly demeanour, we have Joplin channelling his inner creep. We’ve all had an uncomfortable encounter with a Roger or two in our lives. Joplin taps into that awkwardness and cranks it up to eleven to give a clingy frenemy to rival Jim Carrey in The Cable Guy. Savage does still leave room for the viewer to feel some sympathy for our devil however. At his core, Roger is just as lonely and isolated as Andy, he just doesn’t have the correct social skills to create healthy relationships.

Although on the surface Blinders might sound formulaic, it manages to subvert expectations with a couple of sudden swerves that turn everything on its head. None of our characters are entirely what they seem to be, further reinforcing Savage’s message about the personas we are in public, online and at heart. A cautionary tale for the digital generation, Blinders is a nifty, creepy, thriller that will make your toes curl and have you reassessing your social media footprints.

Blinders was reviewed at Arrow Video FrightFest 2020.