The screenplay, co-written by Gass-Donnelly with Colin Frizzell, manages to be simultaneously lacking in coherence and utterly predictable, with viewers earning no points for guessing which one of the characters turns out to be the villain.

Beyond its unsettling intro, it steadily becomes a middling thriller.

As old-fashioned as Hitchcock's Spellbound, Lavender presents the unlocking of suppressed horrors as a freeing experience, without the messiness of further analysis.