Undertone Review: A24's Podcast Horror Fails to Deliver Original Scares
The Sundance Film Festival has premiered Undertone, a new horror film from A24 that attempts to blend audio-based terror with cinematic storytelling. Directed by debut filmmaker Ian Tuason, the movie follows horror podcasters who uncover mysterious recordings, but despite some effective moments, it ultimately disappoints with a lack of originality.
A Derivative Premise That Quickly Loses Its Edge
From the outset, Undertone wears its influences prominently on its sleeve. The plot echoes elements from horror classics such as Paranormal Activity, Session 9, Hereditary, The Ring, The Blair Witch Project, and The Exorcist. While horror fans might appreciate the nods, the film quickly succumbs to a pervasive sense of déjà vu, failing to carve out its own unique identity in an overcrowded genre.
Tuason's concept revolves around Eva, played by Nina Kiri, who co-hosts a podcast with Justin, voiced by Adam DiMarco. Their dynamic mirrors that of Mulder and Scully, with Eva as the skeptic and Justin as the believer. When they receive ten disturbing audio files documenting a couple's descent into terror, the lines between their research and reality begin to blur.
Resourceful Low-Budget Filmmaking Undermined by Repetitive Structure
One of the film's strengths is its impressively resourceful use of a modest $500,000 budget. Shot entirely in Tuason's own home, Undertone relies heavily on audio to build tension, placing viewers inside Eva's headphones as she records. This technique creates an immersive early atmosphere, with creepy sounds like screaming, gargling, and banging effectively setting the stage.
However, the formula soon grows repetitive. Eva's routine of recording, pausing, and reacting to perceived threats becomes predictable, and the podcast's inefficient recording style feels contrived. As the plot introduces more convoluted elements, including demonic lore and child-killing themes, the narrative loses coherence, leaving audiences confused rather than captivated.
Strong Performances Cannot Salvage a Flawed Final Act
Nina Kiri delivers a compelling performance as Eva, portraying her vulnerability and fear with palpable intensity. Her character's struggles—caring for a terminally ill mother, relationship anxieties, and sleep deprivation—add emotional depth. Yet, even Kiri's efforts cannot compensate for the film's structural weaknesses.
The third act abandons the subtle audio-based horror in favour of visual bombast, transforming a campfire tale into a chaotic funhouse. This shift proves exhausting and undermines the earlier tension. The ending, which leaves viewers with an ambiguous "is that it?" note, feels unsatisfying, stranding the audience in a muddle of unscary confusion.
Conclusion: A Missed Opportunity with Silver Linings
Ultimately, Undertone feels more like a showcase of Tuason's potential than a fully realised horror film. Its cluttered yet empty narrative fails to link the audio file mythology with the real-world stakes effectively. Despite these flaws, the project has already yielded success for Tuason, securing a seven-figure deal with A24 and landing him the Paranormal Activity reboot with Blumhouse.
For horror enthusiasts, Undertone offers fleeting moments of unease but falls short of delivering a memorable scare. It serves as a reminder that even with innovative concepts and strong performances, execution is key to standing out in a saturated genre.
