‘Rounding’ Review – Medical Horror-Thriller Battles With Its Identity And Misses The Mark

Alex Thompson’s Rounding is a psychological thriller that attempts to straddle the line between a tense medical mystery and a psychological horror. While the film does have its moments—particularly in its unsettling atmosphere and strong performances—it ultimately falters in its execution. At times, it draws you in, pulling you into the unraveling mind of a medical resident consumed by obsession. At others, it struggles to maintain its focus, losing sight of its own ambitions and leaving you with a sense of missed potential. There’s a pulse of something great here, but it never fully comes to life.

The plot centers around James Hayman (Namir Smallwood), a dedicated medical resident whose life is upended after a traumatic experience involving a failed assisted suicide. Seeking to escape the emotional and mental toll of his past, James transfers to a small-town hospital, hoping for a fresh start. Under the mentorship of Dr. Emil Harrison (Michael Potts), he becomes fixated on the case of Helen (Sidney Flanigan), a young asthma patient whose condition seems far more complex—and sinister—than the doctors realize. As James’ obsession grows, so too does his paranoia, and the boundaries between reality and delusion begin to blur.

At its best, Rounding works as a compelling character study. Namir Smallwood’s performance is undoubtedly the standout element of the film. He brings a quiet intensity to the role, effectively portraying James as a man on the edge. His descent into obsession is both fascinating and painful to watch, with Smallwood conveying a mix of empathy and unease that makes James’ unraveling feel visceral. His exhaustion and paranoia seep through every scene, making it clear that he’s on the verge of breaking. However, while the performance is strong, the script doesn’t quite give Smallwood enough to work with. The character of James is intriguing, but the plot doesn’t dig deep enough to make his psychological collapse feel as impactful as it should.

Thompson’s attempts at horror are, at times, effective but inconsistent. The film occasionally veers into eerie, unsettling territory, offering moments of suspense and discomfort. The dark, claustrophobic hospital corridors, the flickering lights, and the fleeting glimpses of something off-kilter all create a sense of dread that lingers long after the scenes end. However, the horror is mostly muted. There are flashes of brilliance, but they are too few and far between to sustain the tension. The film seems to want to be a psychological horror, but it never fully commits, leaving it stuck between genres. The restraint in its approach to horror could have been a strength, but it feels like the film is holding back too much, preventing the fear from fully taking root.

The biggest flaw of Rounding, however, is its central mystery. The question of what’s really happening to Helen is never fully resolved in a satisfying way. At first, James’ investigation into Helen’s condition feels compelling, but as the film progresses, it becomes increasingly aimless. The film seems more interested in watching James unravel than actually delivering a mystery worth solving. By the time the answers finally arrive, they feel underwhelming and rushed. The payoff, if you can call it that, feels like an afterthought—more of a plot device than a truly satisfying conclusion.

Sidney Flanigan, who was so electrifying in Never Rarely Sometimes Always, gives a solid performance as Helen, but her character is barely given any depth to explore. Helen’s importance to the story is undeniable, yet she often feels more like a narrative tool to push James further into obsession rather than a fully realized person in her own right. The supporting cast, including Michael Potts as James’ mentor and Rebecca Spence as Helen’s overprotective mother, do what they can with the material, but their roles are underdeveloped, leaving little room for them to make a lasting impact.

In the end, Rounding feels like a missed opportunity. The film captures the overwhelming pressure of medical residency—where exhaustion blurs the line between obsession and reality—but it never fully capitalizes on its psychological horror potential or its medical mystery. There’s enough here to keep you engaged, especially with Smallwood’s strong performance and the film’s eerie atmosphere, but it never quite reaches the level of tension or emotional depth it promises. Instead, it ends up in an uncomfortable middle ground, neither fully committed to its horror roots nor its mystery elements, making it an engaging but ultimately forgettable experience.

Rounding is currently available on Digital platforms courtesy of Doppelgänger Releasing.