• Obsession, directed by Curry Barker and rated R, follows Bear (Michael Johnston), a shy young man who uses a supernatural novelty item called the One Wish Willow to make his longtime crush Nikki (Inde Navarrette) fall in love with him — with increasingly disturbing results
• Critics have praised the film for grounding its horror in emotional realism, with Collider calling it better than most recent dating-horror thrillers at weaponizing “blurred boundaries, emotional entitlement” — Barker executes the story “with restraint” as the romance curdles into something “uglier, sadder, and genuinely disturbing”
• Inde Navarrette, previously known for a supporting role in The CW’s Superman & Lois, has been singled out for what one reviewer called a “tour de force performance” — and Michael Johnston’s work as Bear has been called a potential breakout moment
• The film has become a box office success; the director had to cut its most brutal scene to avoid an NC-17 rating, landing the film at R

Curry Barker’s Obsession understands something that most horror films about bad romantic fixations don’t: the truly terrifying part comes before the violence does. The premise is deceptively simple. Bear (Michael Johnston) — a shy, infatuated young man working at a small music store alongside his friend group — uses a supernatural novelty item called the One Wish Willow to make his longtime crush Nikki (Inde Navarrette) fall in love with him. What follows, per Collider, is “something uglier, sadder, and genuinely disturbing” as Nikki’s affection spirals into emotional instability and dangerous obsession.

Collider’s review frames the film as the rare modern dating-horror entry that “weaponizes” fears around emotional entitlement and the moment intimacy becomes control — and does it better than most. Barker grounds the story in emotional realism first: the film opens with the familiar rhythms of a rom-com, making Bear’s awkward affection feel almost endearing before the turn. “Forced love is horrifying before bloodshed ever begins” is how Collider summarizes Barker’s thesis — and critics appear to agree he’s made that case effectively.

The Performances

Inde Navarrette carries a psychologically demanding role. Her Nikki goes from relatable crush to someone who bursts into violent episodes, lies to manufacture sympathy, and refuses to leave Bear’s side at social gatherings — her laugh, in one scene described by reviewers, is “too forced and too unnatural” in exactly the right way. Falls Church News-Press called it a “tour de force performance” and noted that Navarrette, of Mexican and Australian descent, handles the complexity “with dazzling believability.”

Michael Johnston’s Bear works as the moral center of a story in which neither the wish-granter nor the wish-giver comes out clean. The role has been described as a potential breakout for Johnston, who has spent years in television and voice work. Cooper Tomlinson co-stars as Ian, with Megan Lawless as Sarah, per Falls Church News-Press. The film is rated R — the director cut its most brutal scene to avoid an NC-17. That the film lands as hard as it does while staying within those parameters is part of what critics are responding to, per Tooele Online.

The post ‘Obsession’ Is a Horror Movie About Forced Love — and Critics Say Inde Navarrette Is a Revelation appeared first on Cream.

• Obsession became the cheapest film to top the box office in 17 years, beating out the record set by Paranormal Activity in 2009.
• The film was made for just $750,000 and has already earned $27 million worldwide after only a few days in release.
• Director Curry Barker is a former YouTuber making his theatrical debut, continuing a growing Hollywood trend.
• Star Inde Navarrette’s performance is generating serious awards buzz, rare for a horror film.
• The Mandalorian and Grogu looms next weekend, but Obsession’s word-of-mouth momentum is already extraordinary.

Obsession just made box office history — and it did it on a budget that most Hollywood productions spend on craft services.

The horror film from director Curry Barker hit number one at the box office on Monday, making it the cheapest movie to top the charts in 17 years. The last film to do it? Paranormal Activity in 2009 — a film that famously cost $15,000, was shot in a single house, and became one of the most unlikely blockbusters in cinema history. Obsession’s reported budget of $750,000 is higher than that, but in the landscape of wide-release studio films, it’s essentially the same category: a miracle.

On Monday alone, Obsession earned $2.9 million, pushing its worldwide total to $27 million. That’s after opening to $16.1 million domestically over the weekend — good enough for third place behind the Michael biopic ($26.1 million) and The Devil Wears Prada 2 ($18 million), but the highest new opening of the weekend and well above pre-release tracking that had it topping out around $15 million. Add in $7 million overseas and a $2.6 million Wednesday preview haul on premium large format screens, and the numbers tell a story that’s hard to believe.

Obsession was produced for less than $1 million. Focus Features acquired it out of TIFF for a reported $14 million — an aggressive bet that is paying off in a very big way.

The Movie Everyone’s Talking About

The film follows Bear (Michael Johnston), a guy with a crush who uses a mysterious toy called the “One Wish Willow” to wish that his friend Nikki loved him “more than anyone in the world.” As you might expect, the results are not what he had in mind. Inde Navarrette plays Nikki — and the performance has become the story within the story. She goes from overbearing romantic to full psychopath, sometimes within the same scene, and audiences and critics alike have been floored by it. The film holds a 94% on Rotten Tomatoes from both critics and audiences, and earned a rare A- CinemaScore — the kind of score that tells you word of mouth isn’t just going to be good, it’s going to be relentless.

/Film called it a “confident crowd-pleaser.” IndieWire’s review out of TIFF noted the film’s chilling relatability — that it dares to challenge men in the audience to ask whether they’re capable of doing what Bear does, effectively stripping away another person’s autonomy. That discomfort is clearly landing. Awards conversations for Navarrette have already started, which is almost unheard of for a horror film at this stage.

The audience breakdown is also striking. About 75% of viewers were under 35, with the 25-34 bracket being the largest single group. The film skewed slightly male, but 41% of the audience was female, and 32% was Hispanic. On Saturday to Sunday, it dropped just 11% — a stat that exhibitors notice, because it signals a film that people are recommending to each other in real time.

The YouTuber Who Shocked Hollywood

Barker came up as a content creator on YouTube, and ahead of the film’s release, he was clear about what kind of filmmaker he wanted to be. “I don’t want to put myself in a box,” he said. “The movies I want to make are the ones I would be excited to go see at the theater.” Clearly, a lot of people felt the same way.

He’s part of a growing wave. Markiplier’s Iron Lung brought in $50 million on a $3–4 million budget. Danny and Michael Philippou’s Talk to Me earned $92 million on $4.5 million. And now A24 is betting on Kane Parsons’ Backrooms — born from a viral YouTube series — to be one of its biggest releases ever. But none of those had a budget as low as Obsession’s, and none generated this kind of awards conversation.

Focus Features ran a marketing campaign that matched the film’s energy. Cryptic billboards. A campaign where fans could sign up to receive texts from Nikki — 30,000 people did. A series of Discord quests targeting gamers that drew over a million participants in just over a week. AMC secured Dolby Cinema screens and offered an exclusive popcorn tin. Alamo Drafthouse named it an Alamo Recommend and hosted a live-streamed Q&A with Barker. It was old-school and new-school at once, and it worked.

“If we really want to make exhibition feel whole again, we need more movies like Obsession,” Focus Features distribution chief Lisa Bunnell said. “It’s nice to see a movie that surprises people and shows them there’s a lot of talent out there left to be seen. We’re taking seriously that people are discovering talent and content in new ways, and instead of dismissing it we’re saying, how are we able to take this to the big screen and really showcase the talent? I think that inspires young people. And if you can give them hope … that’s a beautiful thing.”

What Comes Next

The comparison points being thrown around right now are Hereditary — which opened to $13.5 million and finished with $90.3 million worldwide — and Barbarian, which opened to $10.5 million and closed at $46.1 million. Both were buzzy, word-of-mouth horror films from first-time directors. Obsession opened bigger than either of them.

The immediate challenge is The Mandalorian and Grogu, the first Star Wars film in seven years, which is projected to open somewhere between $80–100 million next weekend. That’s a wall. But Obsession’s Saturday-to-Sunday hold and its Monday surge suggest this isn’t a film that collapses — it builds. Paranormal Activity opened to just $77,000, lost steam, then came back to win the box office in its fifth weekend. The situations aren’t identical, but the DNA is familiar.

Barker already has two more horror films in development, a comedy, and an original take on Texas Chainsaw Massacre. He’s also been talking about Obsession sequels and an anthology series exploring different wishes and their consequences. For now, all eyes are on this weekend — and whether a little horror movie about a wish gone wrong can hold its own against Baby Yoda.

The post Obsession Sets a 17-Year Box Office Record appeared first on Cream.

• Blumhouse horror film Obsession is now in theaters from Focus Features, which acquired it for $14 million after its TIFF debut
• Director Curry Barker, 26, is a YouTuber-turned-filmmaker whose debut cost $800 — this one cost $750,000
• Inde Navarrette delivers a widely praised star-making performance as Nikki, a woman supernaturally obsessed with her friend
• Michael Johnston co-stars as Bear, the lovelorn music store worker whose reckless wish sets the horror in motion
• Barker already has a Blumhouse follow-up in post-production and an A24 Texas Chainsaw Massacre reworking in the pipeline

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There’s a moment in Obsession where Bear, the film’s hapless, lovestruck protagonist, looks at the supernatural nightmare he’s created and says quietly, \”This is all I’ve ever wanted.\” It’s funny. It’s heartbreaking. And it tells you everything you need to know about why this movie works.

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Obsession — written and directed by 26-year-old wunderkind Curry Barker and now in theaters from Focus Features — is the kind of horror film that sneaks up on you. It looks, on the surface, like a simple \”be careful what you wish for\” yarn. And it is. But it’s also a sharp, darkly funny, genuinely unnerving piece of work that has critics calling it one of the best horror films of the year, and introducing the world to a performer who’s been hiding in plain sight on TV for years.

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That performer is Inde Navarrette, and after this weekend, nobody’s going to forget her name.

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The Setup: One Wish, Infinite Consequences

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Bear (Michael Johnston, known from MTV’s Teen Wolf) is a shy, sensitive music store employee — the kind of guy who rehearses his heartfelt confession of love to a random waitress because any woman’s opinion will do. He’s been quietly obsessing over his co-worker and childhood friend Nikki (Navarrette, previously best known for 13 Reasons Why and The CW’s Superman & Lois) for years, but can’t find the nerve to say so. After fumbling yet another chance to tell her how he feels, he wanders into a new-age crystal shop and picks up a kitschy novelty toy called a One Wish Willow — a flimsy little rod from the 1960s that promises to grant its owner one wish when snapped in half. The cashier warns him that most customers have complained about the results.

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He snaps it anyway. He wishes that Nikki would love him \”more than anything in the f—ing world.\”

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You can probably guess what happens next. And that predictability, several critics note, is actually part of the film’s strange power — you know exactly where this is going, and yet Barker makes you squirm the whole way there.

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Almost immediately, Nikki shows up at Bear’s door. She kisses him. She moves in. She is, to put it plainly, extremely into him — between bouts of vigorous sex and mawkish couple talk. The problem is that this new Nikki occasionally snaps back into her old self and screams in utter terror before the spell reasserts itself. She spends an entire day rooted in one spot so she’s guaranteed to be waiting when Bear gets home from work. She seals the front door with duct tape. She fashions something deeply disturbing out of his dead cat.

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\”This isn’t anything like how Bear imagined it would be,\” as one reviewer put it. \”Yet he happily sleeps with her anyway.\”

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Inde Navarrette Is the Reason to See This Movie

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Every critic who’s seen Obsession agrees on one thing: Navarrette is extraordinary. The role asks her to be funny, terrifying, heartbreaking, and physically unnerving, sometimes within the same scene, and she delivers on every count.

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Portraying Nikki as genuinely, disturbingly obsessed — without tipping into cartoonish camp — is a tightrope act. Navarrette walks it with precision. One moment she’s sulking so intensely it’s almost funny. The next, she’s unfurling a twisted fairy tale that leaves everyone in disturbed silence. Then she’s dancing while covered in blood, or screaming so hard your throat aches in sympathy. There’s a possession element to her performance — strange physicality, odd facial glitches, muscle spasms — that reviewers compare to something genuinely inhuman, without going full Exorcist contortion.

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Cinematographer Taylor Clemons frequently keeps Navarrette’s face out of frame, cropped or obscured by shadow. One review calls it \”an odd choice, as the actor’s so skilled you feel like you’re missing something.\” But her physicality transcends the framing. When the real Nikki briefly breaks through the curse — desperate, depleted, scrambling for escape — the performance becomes genuinely heartbreaking. That emotional weight, critics say, is what elevates Obsession beyond a neat genre exercise.

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\”She’s playing both the victim and the tormentor,\” one critic wrote, \”and she navigates both sides of Nikki’s personality.\” Another called her \”scream queen material.\” IndieWire went further, calling it \”one of the more physically and emotionally taxing horror leads to come down the pike in a while.\”

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Johnston holds his own opposite her — effectively conveying Bear’s sweetly moony yearning in the early scenes and his slowly dawning horror as things spiral. In one bedroom scene, he reportedly pulls off the feat of looking entirely thrilled and utterly miserable at the same time. It’s the kind of detail that makes you realize there’s more going on here than your average fright flick.

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The Bigger Picture: What Barker Is Really Saying

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The film works as a monkey’s paw horror story. It also works as a wickedly sharp dissection of modern male loneliness, the \”nice guy\” myth, and the entitled logic underneath it. Bear isn’t a monster in his own mind — he’s the romantic hero of his own story, a sensitive guy who just wants the girl. What he actually does, as his friends and the film’s camera make increasingly clear, is use a supernatural device like a roofie, then reap the rewards while Nikki is stripped of agency and bodily control.

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\”The most terrifying thing for a young man these days,\” one critic observed after watching young men flinch and gasp at the LA premiere, \”is an emotionally unregulated and unpredictable woman.\” Barker, to his credit, seems to know exactly what he’s doing with that fear — pointing the lens back at the audience and asking the uncomfortable question: how many \”good guys\” in the theater could be tempted to do what Bear did?

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The film is savvy enough not to let Bear fully off the hook. His social circle sees what he’s done. Invitations stop coming. Friends drift away. Several characters explicitly lecture him about his responsibility to Nikki. The horror at the center of Obsession, IndieWire argues, isn’t just the supernatural curse — it’s the very contemporary male fear of being the guy everyone knows took advantage of someone.

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Where some critics push back is in the third act, where the film’s feminist critique gets complicated by its own visual choices. Several reviewers note that the camera lingers on female bodies in ways that feel less like commentary and more like the exploitation it’s supposedly critiquing. \”Barker undercuts the message of anti-misogyny through third-act violence,\” Mashable wrote, pointing to scenes where female characters are brutalized in graphic detail that serves no apparent narrative purpose. It’s a legitimate tension the film never fully resolves.

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The tonal wobbles are real too — some jokey bits, including an inexplicable argument with a shop clerk and a jaunty closing credits song, land awkwardly. And the film is admittedly overlong for a premise this lean, with scenes so dimly lit that Navarrette’s face is sometimes lost entirely.

\n\h2>A Director to Watch — Closely

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What’s remarkable about Obsession is the distance it represents from where Barker started. Less than two years ago, he and collaborator Cooper Tomlinson (who co-stars here as Bear’s loutish best friend Ian) were making horror-comedy shorts for their YouTube channel \”That’s a Bad Idea.\” Their feature debut, Milk & Serial — a found-footage horror sendup of YouTube prank culture — cost a reported $800. It was a clever calling card, if not a fully realized film.

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Obsession cost $750,000 and has the kind of polished confidence that puts major studio efforts to shame. Focus Features — the distributor behind Nosferatu — spent $14 million acquiring it after its buzzy Midnight Madness premiere at the Toronto International Film Festival. Jason Blum is attached as executive producer. Shooting has already wrapped on Barker’s next Blumhouse feature, Anything but Ghosts, and an A24 reworking of Texas Chainsaw Massacre is in the offing.

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The film also has a lovely sense of place — Bear and Nikki work at Cassell’s Music, the beloved independent Los Angeles-area music store that appeared in Wayne’s World and recently closed after 78 years. It’s a small touch, but it grounds the film’s wilder flights of fancy in something real and a little bittersweet.

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The supporting cast includes Cooper Tomlinson, Megan Lawless as the girl next door who clearly has feelings for Bear that he’s too distracted to notice, and Andy Richter in a reportedly underused role as the music store owner. The Rotten Tomatoes score has been climbing steadily alongside the film’s word-of-mouth, with box office projections growing as the opening weekend arrives.

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Critics are landing mostly in B to B+ territory — appreciating the craft, the performance, and the sharp social instincts while acknowledging the film’s rough edges. \”A simple story told well is the oldest trick in the book,\” the Boston Herald noted, \”especially when it works this well.\”

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The Obsession that Bear wished for turned out to be nothing like he imagined. The film named after it, though, is exactly what horror fans have been waiting for — a sharp, sick, surprisingly emotional genre movie with a performance at its center that demands to be seen. Navarrette has been working steadily for years. After this weekend, the industry is going to start paying very different attention.

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Obsession is rated R and is in theaters now.

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The post ‘Obsession’ Review: Inde Navarrette Makes Her Mark appeared first on Cream.

• Obsession, starring Michael Johnston and Inde Navarrette, opens in theaters May 15 from Focus Features
• The film currently holds a 97% on Rotten Tomatoes, making it the best-reviewed wide-release movie of 2026 across any genre
• Prop One Wish Willows sold out on the Focus Features website and are now reselling on eBay for around $200
• Director Curry Barker has already wrapped his next film, Anything But Ghosts, and recently signed on to direct a new Texas Chainsaw Massacre reboot
• Barker’s debut film Milk & Serial was released free on YouTube and quietly built him a devoted horror following

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Curry Barker is only two films into his career, and horror already feels like it belongs to him. His new movie Obsession — a brutal, relentless, genuinely nerve-shredding wish-gone-wrong story — opens this Friday, and it arrives carrying the kind of critical momentum that most directors spend a lifetime chasing. The film currently holds a 97% on Rotten Tomatoes, making it not just the best-reviewed horror movie of 2026, but the best-reviewed wide-release film of the year, full stop. For context, Sinners finished 2025 with a 97%. Barker is in that conversation now.

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And he’s just getting started.

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A Wish That Goes Very, Very Wrong

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Obsession centers on Bear (Michael Johnston, Teen Wolf), a hopeless romantic who can’t bring himself to tell his co-worker Nikki (Inde Navarrette) how he feels. So he does what any desperate, lovelorn person would do in a horror movie: he snaps a cheap novelty toy called a “One Wish Willow” — a $6.99 trinket he picks up at a novelty shop — and wishes that Nikki would love him more than anyone in the world. It works. Immediately. And catastrophically.

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What follows, according to The Hollywood Reporter’s review, is a film that “takes typical aspects of dysfunctional romantic relationships to initially comic and then horrific extremes” — one that’s as darkly funny as it is genuinely terrifying. Navarrette, in particular, is being singled out as a revelation. THR called her performance “virtuosic,” noting she “delivers such intensity she’ll induce nightmares for anyone who’s ever wondered what exactly the hell is going on with their romantic partner.” It’s being described as a breakthrough turn that should change her career trajectory entirely — a significant pivot after her supporting role in Superman and Lois and a smaller part in the Dave Bautista action film Trap House.

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The film also stars Cooper Tomlinson, Megan Lawless, and — in a genuinely delightful bit of casting — Andy Richter, all of whom joined Barker and his leads at a special Los Angeles screening at the Hollywood Legion Theater on May 11.

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Where the Idea Came From

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The origin story has become one of the more charming footnotes in the film’s press run. Barker had been sitting with a vague idea about obsession for a while — the consuming, all-encompassing kind, whether it’s about a job or a person — but couldn’t quite crack the structure. Then he rewatched the “Monkey’s Paw” episode of The Simpsons.

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“That Simpsons episode struck the idea of making it a wish-gone-wrong type of movie,” Barker said. “The idea of being obsessed with another person was something that I hadn’t really seen done to its full glory. The wish thing really unlocked the full potential of that.”

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His writing process is deliberately loose. He outlines, but he doesn’t treat the outline like scripture. “You can really allow yourself to discover things a little bit more when you don’t treat the outline like a bible,” he explained. “Maybe you outline that by this scene, they should be going to the restaurant. But maybe as you’re writing, you discover that the car swerves over, and now they’re on the side of the road.” He goes in with specific moments he wants to include and figures out where they fit — carefully, because forcing a scene into the wrong spot, he says, can cost you the story.

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The “Modern Jump Scare” — and Why He Doesn’t Actually Do Jump Scares

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Here’s something interesting about a horror director who’s being praised for how scary his movie is: Curry Barker doesn’t really believe in traditional jump scares.

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“Jump scares can be kind of predictable, and sometimes unearned,” he told GamesRadar+. “Someone opens a closet and a ball falls out but because the music is loud, it’s supposed to be a jump scare? A modern audience kind of rolls their eyes at that.” Instead, Barker has developed what he calls his own “modern jump scare” — which isn’t a jump scare at all, but something stranger and harder to shake. “If you have two or three, even four, moments in your movie where you can make the audience go, ‘Oh, I didn’t like that. That was weird. That made me feel…’ — to me, that’s a modern jump scare.”

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The philosophy comes from comedy. “Tricking someone is kind of how you make someone laugh,” he said. “You make them think that something’s going one way, and then if you surprise them, you’ll usually get a laugh. My job is to trick you.”

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It’s an approach you can trace back to Barker’s YouTube roots. He and collaborator Cooper Tomlinson built a following through their channel That’s A Bad Idea, with shorts like The Chair and Warnings that leaned into uncanny dread rather than cheap shocks. His debut feature, Milk & Serial — a found-footage film he released entirely for free on YouTube in 2024 — earned strong reviews and real buzz, and set the table for everything that’s happened since.

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The One Wish Willow Is Already a Phenomenon

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When Barker invented the One Wish Willow, he knew it had franchise potential baked in. The film establishes that these trinkets exist all over the world — a detail that quietly leaves the door open for an entire cinematic universe of bad wishes. “It clicked in my head once I kind of came up with the idea,” Barker said. “I knew that there was the potential for this to be, like, kind of an iconic thing.”

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What he didn’t anticipate was that the prop replicas would sell out on the Focus Features website before the movie even opened — and start flipping on eBay for around $200. “People haven’t even seen the movie yet,” he said. “It’s crazy.”

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He does have more One Wish Willow stories in his head, and yes, they’re all horror. As for the film’s more mysterious elements — the creepy phone number, the ambiguous purgatory-like space — Barker is deliberately keeping the lore sparse. “I like that it’s in the people’s hands to come up with their own theories and ideas,” he said. “Your movie is so based in reality except for that one little outlier.”

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The Road to TIFF — and the Version You’ll Actually See

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The version of Obsession that got Barker into the Toronto International Film Festival was, by his own admission, a very early cut — one with a completely different opening and scenes that hadn’t yet been shot. Getting into TIFF from that rough state was, he said, “mind-blowing,” and it changed everything. “It kind of greenlit our additional photography. It kind of knocked everybody into place. It got us a post-supervisor! I had never had a post-supervisor before. I was just kind of editing this thing in my free time.”

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The theatrical version is close to what screened at the festival, with a few additional sound and color passes — and some cuts made to secure the R rating. “There were a couple of head smashes that we had to take out,” Barker said, which tells you something about just how far this movie goes.

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The brutality was always intentional. “All I’m interested in doing is pushing the boundaries of horror,” he said. “I get kind of disappointed when the films that I watch pull their punches or don’t really go there, or they kind of promise that they’re going to go there and they don’t.”

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As for when he knew the film was something special — that took a test screening. Every single person who watched it said they would recommend it to a friend. “I was told that’s unheard of,” Barker said. “No one’s ever had every single person saying ‘Yes’ to that.”

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What’s Next: Ghost Hunters and Leatherface

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Barker has already finished shooting his follow-up, Anything But Ghosts, which he stars in alongside Tomlinson as a pair of ghost hunter con artists. He describes it as living in the same tonal world as Obsession — real stakes, real dread — but funnier by nature of its premise. “That premise alone just lends itself better to comedy,” he said. “But we take the stakes very seriously.”

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And then there’s the Texas Chainsaw Massacre reboot, which Barker recently signed on to direct. It’s the kind of franchise attachment that could mean anything — another tired cash-in, or a genuine reimagining. Based on everything Barker has shown so far, it sounds like the latter. “It’s loving the original but also knowing that there is something left to be shown with that family and with the series in general,” he said. “I actually think there’s a lot to be explored that they haven’t dived into.”

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His strategy for handling the pressure of one of horror’s most iconic properties? “Isolating myself and trying not to think too much about that pressure because that’s the killer of creativity. You’ve got to kind of throw it away, honestly.”

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Obsession is in theaters now. The film reportedly cost under $1 million to produce — and Focus Features paid at least $15 million for distribution rights. Before a single ticket has been sold at the box office, Curry Barker has already won.

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