Creative people understand that, at times, whatever they are working on becomes an obsession. In the case of art, it is rarely a hobby. Creativity can require an all-consuming attitude and unrelenting mindset. Now, from a story perspective, this is rather a compelling angle—the quest for recognition and perfection in the face of evolving obstacles and pitfalls. At least from a surface level, a story of chasing ambition, The Peril at Pincer Point seems interested in exploring this. Yet, the deeper we plunge into the tale, the more apparent it becomes that we are lost at sea. Visually, the film is a winner, and it deserves props for originality, but the overall story suffers under the weight of its ambitions.
The film introduces Jim Baitte (Jack Redmayne), a movie sound designer. Working under the thumb of the tyrannical yet lauded B-movie director P.W Griffin (Os Leanse), Jim is pushed to his limit. While working on a new horror flick, Jim faces pressure from his boss to prove himself. Wanting to show his creative courage and fortitude, Jim returns to a remote island—the place where the film was shot— in hopes of recording a powerful sound. The goal is to elevate the film’s finale: Jim encounters more than an island getaway and becomes ensnared in the area’s legends and ghost stories. Even though he pushes himself to make the recording, he finds that his time on the island may cost him more than his career.
Jim is a stand-in for anyone who has gone down the rabbit hole of ambition. It is a story of the wily chase of a golden idol, all to end up empty-handed. In many ways, the film is quite successful as an allegory. This is a cautionary tale, and the use of a fable that Jim encounters on the island furthers this point. While there, he learns that many a headstrong youth has lost their souls to a ghostly sea captain. This local ghost story haunts him. Despite his efforts, he cannot shake it even as he tries to do his job of being there to record a sound.
Right away, the eerie legend serves as a cautionary tale. A situation in which the drive to chase a particular goal can spiral out of control and cause one to lose oneself. Placing it in the context of the island fable adds another layer of intrigue. The downside is that, because of the surrealist nature and the oversaturation of comedy, the message and indeed the morale become lost in the vortex of beautiful images.
The movie becomes self-indulgent. At times, I felt as though I were watching a comedic take on The Lighthouse. Whether this was intentional or merely my own reading into the film is difficult to discern. The setting and nautical underpinning evoke a vibe that is almost impossible to ignore. But for all the gripes about the film’s bloated structure (despite running 90 minutes) and the mixed signals about the tone, visually, the movie is a treat for the eyes.
In a way, the film plays out like a silent picture. The images are so vivid. For a story that centers on a sound designer, I found the auditory aspect the least important. Instead, I found myself dazzled by the images on screen, which alternate between gothic and surrealism. Cinematographer Murrahy Zev Cohen paints an arresting canvas that does much of the film’s heavy lifting. Where the story found itself toiling or logjammed, the images on the screen were, at the very least, unforgettable and worthy of praise.
Ultimately, it is difficult to be overly critical of The Peril at Pincer Point. It deserves praise for its boldness. When it attempts to weave a narrative thread through the needle, there is some success. It is still an effort that is more style over substance, but even then, that is hardly a damming criticism after watching a visual treat on the eyes.
The Peril at Pincer Point held its World Premiere as part of the Visions section of the 2026 SXSW TV & Film Festival.
Directors: Jake Kuhn, Noah Stratton-Twine
Screenwriters: Jake Kuhn, Noah Stratton-Twine
Rated: NR
Runtime: 83m
When it attempts to weave a narrative thread through the needle, there is some success. It is still an effort that is more style over substance, but even then, that is hardly a damming criticism after watching a visual treat on the eyes.
Writing & podcasting, for the love of movies.
His Letterboxd Favorites: The Dark Knight, Halloween, Jaws & A Christmas Story.
