‘You can hide. But you can’t run.’
Don’t Move is a 2024 horror thriller film about a seasoned killer who injects a grieving woman with a paralytic agent. She must run, fight and hide before her body completely shuts down.
The movie was directed by Adam Schindler and Brian Netto from a screenplay by T.J. Cimfel and David White. It was produced by Sam Raimi and Zainab Azizi of Raimi Productions, Christian Mercuri’s Capstone Studios, Alex Lebovici of Hammerstone Studios and Sarah Sarandos. The soundtrack score was composed by Mark Korven and Michelle Osis.
The production stars Kelsey Asbille, Finn Wittrock, Daniel Francis, Moray Treadwell, Skye Little Wing Dimov Saw and Dylan Beam (voice).
Reviews [may contain spoilers]:
“Much like its paralyzed lead, Don’t Move is inert […] It’s a concept that should yield intense moments and claustrophobic tension or even catharsis for the mother coping with grief. Instead, it’s a rather bland and superficial survival thriller where survival odds never get as dangerous as they should.” ★½ Bloody Disgusting
“Don’t Move isn’t an extraordinary example of pulse-pounding filmmaking, but it delivers decent excitement, and a few turns of plot certainly help the cause. It’s not a puzzle meant to be solved, but a B-movie experience built for viewers hunting for a lean genre exercise that’s short and direct.” ★★★½ Blu-ray.com
“In Don’t Move, the male villain is defeated because he progressively loses his cool as he runs into unsavory situations that are a result of his actions. The female hero wins because the male villain is defeated because he progressively loses his cool as he runs into unsavory situations that are a result of his actions. If that sounds like a great way to go about an action-horror thriller about women’s autonomy, I don’t know what to tell you.” DMT
“Don’t Move is incredibly exciting and dramaturgically compact throughout its entire running time of almost 90 minutes. However, the perpetrator and his victim would have deserved a little more depth in this intense tour de force.” ★★★½ Filmstarts [translated from German]
“Don’t Move doesn’t quite stick the landing as smoothly as one might hope with a few too many incredulous moments (not least trying to convince us that the Bulgarian shoot took place in the US) and some biffed one-liners, but there are enough heart-in-throat moments on the way there to separate this from most of the genre guff on Netflix. You might not be paralysed by fear but you’ll at least be prevented from switching over to something else.” ★★★ The Guardian
” …I cannot compliment Kelsey Asbille and Finn Wittrock enough. They play so extremely well off of each other. Neither of them ever gives in but uses all their skills to keep that tension alive and palpable throughout. Do not miss out on Don’t Move!” ★★★★ Heaven of Horror
” …slick production value and great performances from Kelsey Asbille and Finn Wittrock […] the film does start to lose some steam come the third act. This section felt padded just to make its already short running time a touch longer and ultimately squanders the build-up coming from its first two acts […] Minor flaws aside, Don’t Move is exactly the type of thriller that audiences need a lot more of…” 72% Keith Loves Movies
“Overall, the film is worth the watch for the characters, the actors, and the cinematography, but not the ending. The experience is thrilling and will take you to the scene, but the plot can be a letdown in many ways. So if you know you can handle a bad ending, then give this film a shot.” ★★★ Leisure Byte
“In Wittrock, the film has an eerily frightening villain, because his façade of compassion hides such depths of manipulation and a desire to control. Asbille’s performance might not seem much of a showcase, but her eyes alone convey the dread, the rising terror, and the all-consuming will to survive this ordeal. Like the film itself, she does quite a bit with multiple restrictions.” ★★★ Mark Reviews Movies
“Don’t Move ultimately comes across as a showcase for Asbille’s acting talent. Her portrayal of a (temporarily) paralyzed woman is so potent you actually believe the actor must have taken a paralytic drug for this performance. However, while there is much pleasure in watching Asbille huffing, puffing, and struggling to move her fingers, you never actually care for her character. The acting is so loud and so visible that it calls attention to itself.” 4.5/10 Midgard Times
“A ferocious, fast-paced thriller that doesn’t let you rest from the moment it begins, Don’t Move shows Schindler and Netto’s skill at wringing tension from simplicity. Led by a pair of dynamite performances, it starts with a gasp, so it’s fitting that it leaves you breathless.” 8/10 The MN Movie Man
” …shows the killer isn’t as prepared as he believes he is. Granted it is hard to do that much with a victim on the run who can’t move, it’s more about the people they clash with on route to his final destination for her. It ends up becoming a tidy thriller that keeps you on edge throughout.” ★★★ Movie Reviews 101
“Asbille anchors the film as Iris, skillfully engaging the audience even while largely confined to one position. Some may argue it’s easy to portray someone lying still, but Asbille effectively uses her expressions and eye contact to convey deep emotion […] Whitrock […] serves as a formidable antagonist, tapping into his “American Horror Story” roots to add a dark edge to the character.” Grade: B- The Only Critic
“Between Finn Wittrock’s charm to scary persona and Kelsey Asbille’s ability to act her ass off by just lying still in terror and communicating through her eyes, Don’t Move is an effective thriller. The sense of danger is always there throughout the film’s hour-and-a-half runtime. There are scenes where Iris gains the upper hand, and scenes where Richard has the upper hand which keeps the tension high throughout the film.” ★★★½ Punch Drunk Critics
“Perhaps the genre and scenario help, but the horror of Iris’ situation is sustained for ninety minutes and remains tense, which is a superb achievement by all the team involved. From a sensational angle, Don’t Move will quickly get audiences talking; it’s a given. But this is a genuinely good thriller with good eyes behind the camera.” ★★★★ Ready Steady Cut
” …apart from the briefest of flashbacks, the film never finds a unique way to step outside the character’s frozen exterior. We spend an entire film with Iris, but learn nothing new about her that we didn’t know in the film’s opening ten minutes. Don’t Move also suffers from bad VFX, a hyperactive score, and an inability to craft the kind of tense mood necessary for a thriller like this to work.” RogerEbert.com
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