The host of a popular paranormal podcast becomes haunted by terrifying recordings that mysteriously arrive.
When “The Blair Witch Project” arrived in theaters back in 1999, critic Jeff Vice of the Deseret News boldly declared, “It’s scarier than ‘The Exorcist.’” That line quickly became a centerpiece for the film’s advertising campaign, doing exactly what marketers hope for—it drew people in. Since “The Exorcist” had long been seen as the standard for horror, suggesting something even more frightening was an irresistible hook. The tactic worked, helping the movie become a landmark hit for independent cinema.
For “Undertone,” COLLIDER labeled it “The scariest movie you’ll ever hear.” The effect, though, is different now. Watching movies used to be a shared social event, but these days, most viewers opt to stream new films from the comfort of home, skipping the hassle of theaters. As someone who reviews movies professionally, I still get to see them on the big screen, just as the filmmakers intended. That tagline for “Undertone” caught my attention, so I went in knowing nothing—no previews, no reviews. Sometimes, approaching a movie with no expectations leads to surprises. This time, though, that strategy didn’t pay off.
The story centers on Evy (Nina Kiri), a skeptic who co-hosts a paranormal podcast with her friend Justin (Adam DiMarco). Evy has returned to her mother’s house in Canada to care for her sick, unresponsive mom (Michèle Duquet), while Justin is based in London. Their podcast keeps them connected across the ocean. Justin stumbles upon ten eerie audio recordings sent to him anonymously, featuring a couple—Jess and Mike (Keana Lyn Bastidas and Jeff Yung)—who claim they’re being plagued by strange noises in their home. Evy, ever doubtful, is quick to investigate, but the tapes only get more unsettling as they go along.
Bit by bit, the recordings unveil what Jess and Mike are experiencing. Mike says Jess talks in her sleep, so he starts recording her at night. What begins as an attempt to settle a disagreement soon spirals into something much more disturbing: the tapes are filled with frightening noises and instances of Jess speaking in unfamiliar languages. When Evy and Justin play the audio backwards, they discover a terrifying demonic message. According to legend, this demon targets pregnant women. Not long after, Evy finds out she’s expecting. As the pair dig deeper, the supernatural occurrences intensify, and Evy—despite her doubts—becomes entangled in a growing nightmare. By the time the last recording is played, both she and Justin must face a horrifying truth, with Evy’s own family in jeopardy.
“Undertone” has all the makings of a solid horror film, but by the end, it seems unsure how to bring everything together. The conclusion tries to tie up all the plotlines, but instead of providing answers, it leaves a muddle of ideas—some intriguing, some scary, but ultimately not cohesive.
The narrative leans hard into themes of pregnancy, incorporating children’s songs that, when reversed, reveal sinister, demonic phrases. Well-known tunes like “Baa Baa Black Sheep” and “London Bridge is Falling Down” are transformed into sources of dread. The main antagonist is Abyzou, a demon from ancient myth and the Book of Solomon, long associated with infertility and threats to pregnant women. While the folklore fits the story’s focus, it isn’t explored much beyond surface-level references.
Visually, the movie is impressive. Cinematographer Graham Beasley uses slow, purposeful camera movements and often keeps the camera still, building suspense without resorting to the shaky, handheld style that’s common in recent horror films. The cast is sparse: only Evy and her silent mother appear onscreen, with the rest of the characters heard only through audio.
Writer-director Ian Tuason fills the film with uneasy moments and looming threats, but the finished product feels inconsistent. He’s clearly aiming to join the ranks of top horror filmmakers, and the film’s audio work is exceptional, ranging from faint whispers to thundering footsteps and guttural demonic noises. But the story and its characters don’t quite reach the same level as the sound design.
Nina Kiri gives a strong performance as Evy, holding on to her skepticism even as the evidence against her point of view piles up. She refuses to let herself appear weak or superstitious, which adds depth to her character. In the end, “Undertone” delivers some genuine scares and inventive moments, but its scattered ideas prevent it from fully coming together.
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