Stalkers (2025) — Identity, Fame, and Fear
Director: Paul Thompson
Date Created: 2025-08-12 20:39
2.5
Pros
- Great cast
- Solid performances
- Nice atmospheric tension
Cons
- Runtime.
- Film Title: STALKERS
- Director: Paul Thompson
- Writer: Paul Thompson (inferred, as no separate writer is listed in the press release; often the director also writes for indie films)
- Cast: Olivia Stadler (Kate/Tabitha), Scarlett DiCaro (Charlotte), Allisha Pelletier (Justine), Hannah Mae Beatty (Aubrey), Sam Wexler (Corey), Abbas Wahab (Mike), Marlo Aquilina (Sgt. Leadbetter)
- Production: Basic Strategy Film
- Distribution: 4Digital Media
- Release Date: August 12th (VOD)
- Official Website.
Review by: Mother of Movies
This review covers the psychological intricacies and narrative shifts of *STALKERS*. While the core experience remains unmarred, significant plot reveals and climactic character developments are tucked away in a dedicated, collapsible spoiler section at the end. Proceed at your own discretion, fellow cineaste.
When the Past Won’t Let Go: STALKERS Unmasks the Obsession Beneath the Spotlight
Paul Thompson’s psychological thriller, STALKERS, is precisely one such beast. A film that peels back the layers of celebrity, trauma, and the relentless vice of a past that refuses to stay buried. Distributed by 4Digital Media, this VOD release (available from August 12th) might just be the underseen gem you’ve been craving, if you’re brave enough to confront its unsettling truths and strenuous long runtime (1H55M).
From the jump, STALKERS sets a disquieting tone. What begins as an almost saccharine, suburban tableau, complete with dorky dad, twinkling piano music, and talk of upcoming birthdays, quickly devolves into a jarring home invasion. The sudden, brutal stabbings, punctuated by a daughter’s scream, feel less like a typical slasher opening and more like a stark contrast to the initial Lifetime-esque facade. This jarring juxtaposition immediately signals that STALKERS isn’t playing by conventional rules, even if some of the dialogue veers into familiar horror cliché. The title blares onto the screen with an almost aggressive static, a sonic warning shot that the perceived tranquility is about to shatter.
“Did you guys watch Black Christmas…. You know ot gves him nightmares.”
Quote from the 2025 indie horror film, Stalkers
The Unraveling of Identity: Kate, Tabitha, and Motherhood
We’re quickly pulled from the immediate aftermath of horror into an entirely different, equally uncomfortable world: the adult film industry. Here, we meet Kate (Olivia Stadler), an actress whose melancholic demeanor speaks volumes about her profession. The film deftly handles the delicate balance of hinting at her work without gratuitous detail, allowing the inference to take the weight of her experiences. Stadler, known for her stand-up comedy, delivers a steady performance, imbuing Kate with a weary resilience that makes her human.
The narrative kicks into gear when Kate receives devastating news: the child from that scream-filled opening scene, Charlotte (Scarlett DiCaro), is her long-abandoned daughter, now orphaned. But not for long. It’s a twist that immediately raises the level of responsibility, forcing Kate to confront not only her estranged family but also her own deeply buried past. She also has to confront reclaiming a semblance of motherhood that she gave up on purpose. The premise, while not entirely novel, becomes a vehicle for exploring themes of identity and redemption, particularly for a character burdened by societal judgment and personal regret.
As Kate attempts to forge a connection with Charlotte, whose resentment is palpable, the film introduces plenty of suspicion. A well-meaning but ultimately cryptic friend, Justine (Allisha Pelletier), and Mike (Abbas Wahab), the seemingly benevolent figure who provides Kate and Charlotte with a lavish new home, both become figures of ambiguous intent. Pelletier, in particular, leans into a meaty, emotional role that keeps you guessing about her true allegiances. The constant sense of being watched, of unseen eyes lurking in the periphery, a grey-haired man, and a school acquaintance (Sam Wexler’s Corey), creates a sense of paranoia, with an early rise to psychological tension that tightens nicely.
Echoes of Obsession: The Cinematography of Paranoia
Director Paul Thompson, whose background includes work with genre stalwarts like George Romero and Guillermo del Toro, obviously knows atmospheric tension. Even if some of the early editing choices feel a touch abrupt. While I noted some aspects of choppy editing alongside a twerpy score, far be it from me to not also say, this could be interpreted as an intentional stylistic choice to disorient the viewer. The atmospheric eeriness, as promised in the press release, does deliver. There is a visual language that amplifies the film’s sense of dread. The cinematography often employs a tight framing, keeping Kate (and us) perpetually on the outer, as if the walls themselves are closing in.
Thompson’s direction shines in its ability to highlight the injustice faced by those whose pasts are weaponized against them. STALKERS looks at how public perception can warp personal truths. How deeply ingrained trauma can be exploited. The film doesn’t shy away from the ugly side of obsession. It’s a relatable cynicism about the human condition and where STALKERS truly resonates. It pulls back the curtain on society’s gaze.
Performances and the Plot’s Unsettling Twists
The ensemble cast largely delivers, with Olivia Stadler eliciting a feeling of conviction. Scarlett DiCaro, evolving from tween to teen during filming, brings an authenticity to Charlotte’s severed relationship with her mother. Marlo Aquilina brings an odd yet serious presence to Sgt. Leadbetter, a role that, despite some minor costume quirks (her uniform seemed a touch oversized), adds a welcome layer of professional skepticism to the unfolding chaos. Sam Wexler, as Corey, initially provides what the press release calls a breakout comedic turn, though his character quickly descends into a more unsettling, opportunistic role, becoming a stark reminder of casual cruelty and entitlement.
The narrative, at times, feels abstract, particularly concerning the loose threads of rape, drugs, and trauma that are hinted at but not fully explored. This ambiguity can be frustrating, leaving key motivations feeling underserved. However, it also contributes to the film’s dreamlike, almost surreal quality, forcing the audience to piece together the fragmented reality alongside Kate. The film’s strength lies in its ability to keep the audience guessing, piling on suspects and red herrings until the truth, or at least a truth, begins to emerge.
Stalkers’ Secrets Revealed – Read on if you want to Know Why
The web of deceit begins to unravel in the film’s latter half. Mike, initially presented as a benefactor, is revealed to be far from innocent.
His sketchy basement is, in fact, a disturbing shrine: a private cinema dedicated to Kate’s adult films, a chilling testament to his obsessive fandom. This discovery leads to a brutal confrontation where Corey, the opportunistic school acquaintance, meets his untimely demise.
The true orchestrator of Kate’s torment, however, is Justine. Her seemingly supportive friendship morphs into a terrifying vendetta. We learn that Justine was the one who drugged Kate at prom years ago, setting in motion the events that led to Charlotte’s conception. Her motives are murky, fueled by a toxic mix of envy and a twisted sense of justice, culminating in a violent showdown where she stabs Mike before engaging Kate in a desperate fight. Her chilling declaration,
“She brought you two together,”
hints at a deeper, more manipulative plot to reunite Kate with her past, albeit in the most destructive way possible.
In a surprising twist, Mike, despite his disturbing obsession, is revealed to have genuinely cared for Kate in his own warped way, having intervened and “saved” her on that fateful prom night. His blue tarp across the stairwell, initially perceived as a sign of his villainy, becomes a darkly ironic symbol of his attempt to conceal his private obsession rather than an act of malice against Kate.
Perhaps the most frustrating, yet stylistically bold, choice is the film’s refusal to reveal the identity of Charlotte’s biological father. The narrative dances around this crucial piece of information until the very final moments, only to leave it as an unresolved ambiguity. While some might find this deeply unsatisfying after a two-hour build-up, it reinforces the film’s central theme: the past’s grip isn’t always about definitive answers, but about the lingering shadows and consequences. The identity of the father, in this context, becomes less important than the trauma and the bond forged between mother and daughter in the face of relentless obsession.
The Unseen Threat and a Mother’s Fight
STALKERS is engaging, if at times an uneven journey into low platforms of obsession and identity. Paul Thompson, for his directorial debut, has evident genre sensibilities honed from experience from his days as part of the Camera and Electrical department with masters like Romero and del Toro, and Aaron Sorkin, crafts a film that, despite its indie budget, manages to create a genuinely unsettling atmosphere. He often employs practical effects and a visual style that leans into atmospheric tension. This in itself is a clear filmmaking stamp.
While the narrative’s more abstract elements can leave a viewer wanting more clarity, the film’s strength lies in its willingness to tackle uncomfortable truths about fame, trauma, and the societal pressures that can push individuals to their breaking point. It’s a dark, witty, and grungy take on the modern psychological thriller, unafraid to call out the underbellies of human behavior and strangle the injustice inherent in a world that often judges without understanding. STALKERS sees into the innards of its characters, exposing vulnerabilities and strengths alike.
Stalkers 2025 is rated
2.5 Obsessive Admirers out of 5
Looking for a similar story about invasive behaviour? Mother of Movies has loads of stalker reviews. Watch any of these titles next: Borderline / Heartthrob / Baby Reindeer / The Open House
Stalkers 2025 Film Teaser Trailer
