All About Autonomy
Directed by Curry Barker
Starring Michael Johnston, Inde Navarrette, Cooper Tomlimson
Released May 15th, 2026
Rated R
The Monkey’s Paw is an iconic short story written in 1902 by W.W. Jacobs. It’s only a few pages long, but as the original “be careful what you wish for, it just might come true” story, it’s influenced many tales through the years, including one of Stephen King’s scariest novels, Pet Sematary. In true Gen Z fashion, twenty six year old Curry Barker was inspired to make his film Obsession after watching an adaptation of The Monkey’s Paw on an episode of The Simpsons’ Treehouse of Horror. Barker is the writer, director, and editor of Obsession, moving into the horror genre after making sketch comedy for years, much like Jordan Peele and Zach Cregger before him. And like Peele and Cregger, Barker proves with his first major film that he’s got something new to offer to the genre, namely an interesting and layered mixture of uncomfortable comedy and shocking moments of terror.
We’ve all liked someone who didn’t like us back, right? Unrequited love has long been the basis for countless works of art. There are so many paintings, movies, books, and songs about longing, pining, wishing for the one you want to want you back. This universal concept is taken to horrifying extremes in Obsession. Twenty-somethings Ian (Cooper Tomlinson), Sarah (Megan Lawless), Nikki (Inde Navarrette) and Baron (Michael Johnston) work together at a music store owned by Sarah’s dad Carter (Andy Richter). The friend group is on the precipice of splitting up as they head off to various colleges.
Baron, known as “Bear” to his friends, has harbored a secret crush on Nikki for years. Ian advises that Bear should tell her how he feels before she leaves town. Though he has plenty of opportunities that night, Bear does not do that. Earlier, Bear found himself in a metaphysical shop where he purchased a “One Wish Willow,” said to be able to grant whomever snaps it in two exactly one wish. Unable to tell Nikki how he feels, Bear instead snaps the willow in two (paging Aunt Gladys from Weapons) and makes his wish: for Nikki to love him more than anyone in the entire world.
The wish takes hold immediately. Nikki says she loves Bear. Bear does not mind that Nikki doesn’t act like herself at all. He does not mind when she lies to him, or when she is violent, or when she cries, or when she expresses confusion or displeasure or anxiety or anything at all. Bear is willing to look past all of that, as long as she falls into bed with him. Things only get worse. Nikki starts hurting herself. Nikki starts hurting other people. A frightened Bear calls the customer service number on the back of the One Wish Willow box, in an attempt to alter his wish. Not to take it back, mind you. Simply to alter it.
“We don’t really do that.” says a tired voice (Curry Barker) over the phone, responding to Bear’s desperate plea. The voice then asks Bear if he wants to talk with Nikki, and we hear her in the background over the phone, screaming. The movie only hints at what’s really going on with the supernatural aspect of the wish once it is made, but what is hinted at is something quite disturbing and scary, bringing to mind The Sunken Place in Get Out.
The classic thriller Fatal Attraction wrestled with borderline personality disorder through a character that ends up cooking a pet rabbit. In Obsession, Nikki’s violent actions are not the manifestation of mental illness, but rather the result of Bear taking away her autonomy through his wish. It’s a deeply unsettling concept. At times the film leans into the inherent comedy of a backfired wish, making for scenes that are as uncomfortable as they are funny. And just when you think you’ve got the tone of the film nailed down, a character suddenly smashes another character’s head into a pulp with a brick, many times over.
Curry Barker’s script is as smart and funny as it is scary, and he shows a good eye for framing shots along with encouraging great performances from his cast. I like this group of friends. Their camaraderie is believable. At the beginning of the film, they are excited to go out together to a bar’s trivia night. I used to do the same thing when I was in my twenties. This sequence felt like Barker was writing about his life as a 26 year old. It did not feel like a Hollywood executive in their 60s asking “What do the kids like to do these days?” Megan Lawless manages to make Sarah feel like a fully fleshed out character, and Cooper Tomlinson embodies the classic boisterous best friend archetype we’ve seen in movies for years. Michael Johnston plays Bear as a sad sack, someone you may feel sorry for until he makes it clear that he considers himself deserving of Nikki’s love (and body) just because he wishes for her to give herself to him.
Inde Navarrette’s performance bringing Nikki to life is nothing short of a tour de force. She’s mesmerizing, heartbreaking, and terrifying. With this role Navarrette has joined the ranks of the all-time pantheon of next-level performances from women in horror movies, alongside Amy Madigan in Weapons, Nell Tiger Free in The First Omen, Naomi Scott in Smile 2, Toni Collette in Hereditary, Mia Goth in Pearl, and Isabelle Adjani in Possession. Yes, there are many more performances that I could list here, but you get the idea. Inde’s performance is as memorable and wrenching as any I’ve seen. She deserves all the accolades coming her way.
Cinematographer Taylor Clemons’ expert use of light and shadow simply has to be seen to be believed. It’s a masterclass in using lighting to create atmosphere, and using the shadows of a hallway, a bedroom, or a doorstep to supremely creep your audience out. Rock Burwell’s score is as thrilling and surprising as the film itself. Many of the songs abruptly end, creating a jarring experience that echoes what the characters are going through. Burwell’s synths evoke a contemporary sound that feels inspired by the haunting work of Angelo Badalamenti. I wouldn’t say I’m obsessed with this film, but I like it a lot.