Dir: Curry Barker
Cast: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, Andy Richter
Curry Barker’s wickedly funny and deliciously disturbing spin on the classic monkey paw tale warns us to be careful what we wish for, as our cowardly protagonist finally receives the affection he craves with horrific results
If you could have one wish granted, what would you choose? That tantalizing question sits at the heart of “Obsession”, the latest film by YouTuber-turned-filmmaker Curry Barker. At just 26, Barker has followed a path blazed by other rising horror auteurs, beginning with a comedy channel before diving into the world of scares. Comedy and horror, both thriving on the extremes of human emotion, have long been interchangeable playgrounds for creative minds. You can go back to the likes of Jordan Peele, who famously made the leap between the seemingly contrasting genres with his Oscar-winning “Get Out” in 2017. Now, a new wave of young, digitally savvy creators are jumping from computer screens to cinema, with horror being their genre of choice. Standouts include Australian twins Danny and Michael Philippou (“Talk to Me”, “Bring Her Back”), Chris Stuckmann (“Shelby Oaks”), Markiplier (“Iron Lung”), and Michael Shanks (“Together”), all carving out their own chilling niches.
Online platforms have become launchpads for fresh filmmaking talent, and Curry Barker is a prime example. While I haven’t delved into the Alabama native’s comedic collaborations with Cooper Tomlinson, I did catch his first feature, “Milk & Serial”, released on YouTube in 2024. That short, deeply unsettling debut revealed Barker’s twisted humour and knack for crafting relatable, compelling stories. He wore nearly every hat on the project, even starring as a prankster whose secret life as a serial killer is hidden from his friends. The viral buzz from “Milk & Serial”, paired with the success of his 2023 horror short “The Chair”, caught the attention of Tea Shop Productions. Though they initially wanted to adapt “The Chair” for theatres, Barker seized the moment to pitch his script for “Obsession”.
Though “Obsession” is technically Barker’s second feature, it marks his theatrical debut. Even without much familiarity with his earlier work, the film shot to the top of my must-see list for 2026 after it wowed critics at the 2025 Toronto International Film Festival. In the months between its TIFF premiere and last Friday’s release, the buzz only intensified, especially after Focus Features and Universal snapped up distribution rights. That’s a remarkable achievement for a film made for less than $1 million by a newcomer.
Barker’s screenplay draws inspiration from the classic “Treehouse of Horror” episode of “The Simpsons”, where Homer tangles with a Monkey’s Paw. It’s the timeless “be careful what you wish for” tale, reimagined countless times since the early twentieth century. In Barker’s version, the cursed object is the “One Wish Willow,” a quirky novelty toy our protagonist, Bear (Michael Johnston), stumbles upon in a kooky gift shop reminiscent of Mr. Wing’s store from “Gremlins”. Despite initially buying it for his workplace crush, Nikki (Inde Navarrette), Bear ultimately makes the wish himself: for Nikki to love him more than anyone else. To his astonishment, Nikki’s feelings flip immediately, her sudden devotion replacing her earlier indifference.
At first, Bear is overjoyed—he’s finally won Nikki’s heart, even if it wasn’t exactly by her choice. But her newfound love quickly spirals into obsession. Nikki’s affection turns disturbing: she watches Bear sleep, isolates him from friends, barricades the doors, and waits for him for hours, even to the point of soiling herself. Bear, still infatuated, remains oblivious until friends Ian (Cooper Tomlinson) and Sarah (Megan Lawless) step in, alarmed by the bizarre turn in his relationship.
Like the best horror films, “Obsession” unsettles with its tension, chilling moments, and shocking violence, but it also digs deep into themes of toxic relationships, co-dependency, and consent. Bear, our protagonist, endures harrowing consequences from Nikki’s obsession, yet Barker refuses to let us feel false sympathy for him. Bear’s cowardice and selfishness are laid bare—he strips Nikki of her free will with a wish, then eagerly enjoys the results. Even if he never expected the wish to work, he wastes no time exploiting it. The film draws a disturbing parallel: Bear’s actions are just a fantastical step away from real-world violations, like spiking a drink, and the Nikki he ends up with is a stranger to the woman he once admired.
Barker flips the script on the possession subgenre, casting Nikki as the true victim. While her obsessed self commits some disturbing acts, glimpses of the real Nikki fighting to break free make her plight deeply sympathetic. Inde Navarrette delivers a powerhouse performance, capturing both Nikki’s original warmth—her generosity, her creative ambitions, her gentle affection for Bear—and the chilling transformation that follows the wish. Watching her shift from loving partner to unsettling presence is both heart-breaking and mesmerizing. Navarrette’s devilish grin rivals the best in the “Smile” films, and her eerie, glitchy movements evoke the spirits of classic J-horrors “Ringu” and “Ju-on”. This is a breakout performance, one that will go down as one of the most memorable of the year and could even garner awards-season attention in the months to come.
The supporting cast shines as well. Michael Johnston’s anxious, almost pitiable performance underscores the cowardice of men who ensnare women in toxic relationships. It’s a treat to see Barker reunite with Tomlinson, his long-time collaborator, though I’m relieved Barker chose not to star himself, showing impressive restraint for a young director. For his first major theatrical outing, Barker pulls out all the stops: he builds slow-burning dread while also injecting surprising humour, making “Obsession” both terrifying and entertaining. While the film sags a bit in the middle, Barker wisely avoids cheap jump scares, instead rewarding patient viewers with genuine shocks and bursts of violence.
“Obsession” may be too intense for some, with its exploration of psychological manipulation and non-consensual relationships, not to mention its haunting sound design and visuals. But for horror fans, it’s a must-see. Even though we are yet to hit the halfway point in the year, Barker’s phenomenal big-screen debut has already set the bar for 2026 horror. Surrounded by a new generation of genre innovators, I’m eager to see what twisted tale he conjures up next.
Obsession is now showing in UK Cinemas
Dan Loves Film 
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