Walking into the theater with only a faint recollection of what intrigued me about Night Swim, the film’s opening scene reminded me of how much my hopes for a good time rested primarily on the shoulders of Wyatt Russell (The Woman in the Window) and Kerry Condon (The Banshees of Inisherin). Despite my initial lack of real expectations – although I’m well aware that January horror movies are often quite disappointing – these casting choices alluded to the potential for a satisfying viewing to start the new year. Being a feature directorial debut for Bryce McGuire, I wished for a pleasant surprise…

Night Swim Critique

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Sadly, Night Swim fails to rise above the pitfalls of generic horror tropes, relying on the overused framework of a ‘haunted house’ narrative – replacing the house with a pool. Russell and Condon truly are the silver lining in this otherwise lackluster production. Their performances showcase a commendable chemistry, injecting a sense of maturity into the film. The duo’s interactions feel compelling, providing a solid foundation for the viewer to invest in the characters, but the formulaic script simply doesn’t allow for any arc or theme to be properly explored. In addition to the main actors, one unexpected highlight was the revelation of 19-year-old Amélie Hoeferle (The Hunger Games: The Ballad of Songbirds & Snakes), who offers a surprisingly captivating display that firmly places her among the promising young actresses to watch. Despite the overall letdown, these interpretations add a layer of credibility and engagement that helps keep the audience tethered to the story.

Charlie Sarroff’s (Smile) cinematography also deserves a nod of appreciation for a few unconventional camera angles and well-executed jumpscare sequences. Navigating the limited space of a home pool setting, Sarroff manages to infuse some creativity into some scares, although the effectiveness of these moments is short-lived, as Night Swim struggles to sustain tension.

These are the only compliments I can come up with, and unfortunately, they’re not enough to compensate for McGuire’s insipid screenplay, which does little to elevate Night Swim beyond the clichés of the horror genre. The “haunted house” premise feels tired and uninspired, borrowing heavily from countless other movies that have tread similar ground before. Even though the filmmaker holds the potential to explore deeper themes surrounding familial sacrifice and love, the narrative merely uses these topics as plot devices rather than opportunities for meaningful storylines.

Even the before-mentioned well-executed jumpscares become a double-edged sword since, despite being technically seamless, they ultimately fall victim to predictability. Night Swim‘s reliance on these customary tactics diminishes their impact as time goes by, leaving the audience with a sense of déjà vu rather than genuine fear. Furthermore, the blend of VFX and makeup work in certain characters doesn’t mesh well, making them more visually distracting than actually terrifying.

Night Swim could easily be one of those reasonably entertaining horror flicks that, despite not having much substance, has enough to satisfy most viewers with a straightforward story and decent scares. However, the rushed, problematic conclusion sours the viewing experience. While I often champion films with bold, risky endings, even if these don’t work, McGuire’s third-act decisions feel so forced and lacking in nuance that I instead wished for one of those generic endings.

In retrospect, even though I’m aware it’s certainly not the filmmaker’s intent, Night Swim somewhat exploits a character’s complicated disease as a mere means to an end, using it as a trait connected to the haunted pool rather than giving a respectful, careful treatment of a sensitive topic. The final few minutes should have transmitted a message of resilience and perseverance in the face of personal struggles, but instead conclude with a messy, almost contradictory message for the sake of shock value. A shock that’s never really earned…

In Conclusion

Night Swim fails to rise above the limitations of its generic horror foundation. Despite commendable performances from Wyatt Russell, Kerry Condon, and the emerging Amélie Hoeferle, Bryce McGuire’s reliance on exhausted tropes, predictable jumpscares – even if well-executed – and underdeveloped themes and characters ultimately sink the movie under the weight of its own uninspired narrative choices, namely the rushed ending with frustrating messaging. Sadly, it’s not the film I wish I could use to counterargue the idea that January can’t have memorable horror…

3/10

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