All is quiet in suburbia, or is it? Adam Scott took us to the ghostly hills of Ireland earlier this year, where witches and wicked folklore ran wild. Now, he brings us to the burbs where somebody is watching… somebody, and love thy neighbor is a suggestion, not a requirement. Enter: The Saviors. The film offers a stirring commentary on our tinderbox political scene and pulls at the threads of racial stereotypes. Reinjecting post-9/11 politics into the mix creates a thriller that is much more interested and invested in paranoia. There are eyes on everyone, and the film deserves to have as many eyes on it. While familiar at times, the tension reaches a boiling point before spilling over, revealing an exciting climax.
The story opens on a happy couple in bed on an idyllic morning. Sean (Scott) and Kim Harrison (Danielle Deadwyler) engage in pillow talk before a strange, if not supernatural, occurrence occurs. Before anything is registered, Sean wakes up back in reality, on the couch. The dream angle in storytelling is cliché. However, when done well, it has its benefits, and in this film, dreams have a fortuitous quality.
Sean and Kim are preparing to divorce, but want to earn a little money to fix up their house before selling it. They decide to rent out their guest house to a quiet brother and sister from the Middle East, Amir (Theo Rossi) and Jahan (Nazanin Boniadi). All seems pleasant, but strange occurrences begin to unfold following their arrival. A dog goes missing, and mysterious lights flash from the house. And to really crank up the Twilight Zone vibes, there is mysterious tech being delivered and assembled in the house.
And of course, there are those dreams—dreams of an apocalyptic nature. At first, Sean appears to be the only one afflicted, and stirs the pot that the new house guest may be hiding dark and dangerous secrets. The story plays on the fear of muslims, and while Sean is quick to establish he is not a bigot, his family is a group of paranoid right-wingers. Sean may be more tolerant, but he is quick to go down a rabbit hole of conspiracy and paranoia, pointing the finger at his tenants.
The dreams serve as a conduit for understanding what is happening or about to happen. The tables abruptly turn when Kim also begins having these dreams, or possibly visions of an apocalyptic hellscape. Are these premonitions or paranoia? Are Sean and Kim unwittingly renting to a would-be terrorist, or is it all one big misunderstanding fueled by irrational fear and domestic distress?
The story keeps the audience guessing whether or not Sean is justified in his suspicions. And later, he brings Kim into the fold, along with his cranky sister, Cleo (Kate Berlant), who, in turn, brings a private investigator (Greg Kinnear) to assist Sean in spying on Amir and Jahan. The more others become involved, the more the suspicions build like a spark that becomes a fire. Conclusions arrive without much forethought, and irrationalities take hold, leading to a shocking result that catches everyone by surprise.
Now, not all the elements work. The film straddles the line between making a statement about the current political climate and maintaining the taut thriller tension. The ultimate success lies in its ability to subvert our expectations without ever feeling like a cheat. Without delving into spoilers, the reveal that arises at the end packs quite a punch. In tandem with the recurring dreams, the revelation feels fresh yet also in keeping with the film’s themes of paranoia, which run like a rushing river through it.
Adam Scott again proves his A-game with genre films. He channels Sean’s sardonic wit, peppering the story with biting humor that adds to the undercurrent of paranoia and fear. While The Saviors is more of a traditional thriller than an outright horror film, as was the case in Hokum, he brings deft humor that works in any dire scenario. There is a wonderful marriage between comedy and horror. As has been the case, comedic actors tend to excel when handed darker material. Scott is no exception.
In what becomes marital bliss interruptus, The Saviors play it safe when they need to. Who’s spying on who is a familiar runaround the track, with a sprinkling of post-9/11 mindset. However, the real thrill lies in the tension that plumes like a mylar balloon until finally all hell breaks loose!
The Saviors held its World Premiere as part of the Narrative Spotlight section of the 2026 SXSW TV & Film Festival.
Director: Kevin Hamedani
Screenwriters: Kevin Hamedani, Travis Betz
Rated: NR
Runtime: 90m
Adam Scott again proves his A-game with genre films.
Writing & podcasting, for the love of movies.
His Letterboxd Favorites: The Dark Knight, Halloween, Jaws & Revenge of The Sith.
