‘Push’ Review: Enough Suspense, Eeriness And Solid Acting To Overcome The Shortcomings

Push, the latest collaboration between lifelong friends David Charbonier and Justin Douglas Powell, is a home invasion horror/thriller movie with a twist. The protagonist is a highly pregnant woman who not only has to save her life but also the life of her unborn child. Additionally, the movie takes place in a time when cell phones were not yet available, so calling for help isn’t an option. The elements for Push to become an (in)tense work are present, mainly because Alicia Sanz (The Legend of El Cid) is the impeccable lead, but it nevertheless can’t fulfil its full potential.

What makes this feature work for the majority of its short runtime is that the co-directors and co-writers certainly know how to create the necessary suspense to elevate the slightly familiar story to something more. They once again, after The Boy Behind the Door and The Djinn, use a primary and single location to try and convey nail-biting tension. This time, that remote and slightly outdated location is the house Natalie (Sanz) wants to sell. As a skilled property estate agent, she conducts a tour of the property, and that scene is undoubtedly one of the more impactful ones. During that disturbing scene, there’s no sound or dialogue. Instead, it’s the frightening score and Sanz’s on-point emotions and body language that guide you to the dark and dusty rooms of the remote and cursed house. Who knows what secrets she will find throughout her first tour?

Based on the absence of lengthy expositions and Daniel Katz’s (Bookworm) moody, dim-lit and sometimes too dark cinematography, you instantly know that some disastrous happenings will take place in that mansion. You have to have patience to see what will happen because, initially, no one turns up for the open house. Who would want to live in a home with a deadly history anyway? By delaying the potential buyers’ visit to the house, the filmmakers aim to heighten the sense of isolation to its maximum. Once you feel that sense of dread, absence and loss (as Natalie had to say goodbye to her husband months before unexpectedly), an interested party turns up last minute, and it’s from that moment on that the movie finds its true dark energy.

Unfortunately, the person interested in the house is a ruthless serial killer (Raúl Castillo) who already thinks he owns the property. When Natalie denies that, the film becomes a cat-and-mouse game, with Sanz and Castillo delivering excellent performances. When her character is being pushed to her limits, Sanz provides a compelling and frightening performance as the protective mother whose only solution is to fight. While Castillo (Smile 2) delivers a much quieter performance, his loud presence is tangible throughout every scene due to his cold, efficient, and solid acting.

Both performances become even more impactful when the stakes become higher due to Natalie going into premature labour because of the violent attacks. From then on, her deadly battle isn’t only with the deranged killer but also with time and her own body. She needs to find every ounce of strength and determination to survive and keep the murderer at bay, but that’s easier said than done when being on the verge of bringing your child into a horrific world. Natalie scrambles for survival as long as she can, resulting in shocking moments.

The filmmakers certainly use that fight to live to the fullest, as well as the single location. They have extensive experience in creating similar features, as the usage of the desolated house is spot-on. They take you slowly and steadily throughout the dangerous house, the secret rooms and even hidden compartments to ensure that there’s always something new but dark to encounter. While they mainly utilise the psychological aspect of the horror genre, they’re not afraid to throw in some bloodier, more gruesome moments when outsiders find themselves in this lethal game.

It’s just a shame that this alarming movie sputters at the end. Whether it’s because of the location shifts or the cheap jump scares, the third act makes this film feel less effective and intense. There are even some post-credits scenes that truly feel unnecessary in this otherwise delightful piece of work.

While there might not be enough tension and scares for Push to truly become an outstanding film, Charbonnier and Powell use enough suspense, unease, and on-point performances to make their third collaboration a wonderful watch.  

Push is out now on Shudder. Read our interview with co-directors and co-writers David Charbonier and Justin Douglas Powell here.