Joining the ranks of step-parent horror movies is HOMEBOUND. Written and directed by Sebastian Godwin it’s the story of Richard (Tom Goodman-Hill) who attempts to introduce his new fiancé Holly (Aisling Loftus) to his children during a weekend visit only to have things go horribly wrong in the process. The beautifully shot thriller echos slow-burn thrillers like The Invitation and You’re Next with crisp production values, a secluded opulent setting, and a lingering dark secret that is ultimately revealed. While not reaching the dizzying heights that it could, HOMEBOUND is trussed with strong performances from the minimal cast, writing that stays on the better side of credulity, and solid direction from Godwin.

As the film opens, Richard and Holly are winding their way along a two-lane country road toward the posh country estate that his ex-wife now lives at with their three children for a weekend birthday celebration for his youngest, Anna (Raffiella Chapman). The kids don’t know that dad is engaged and Holly, showing a bit of compassion, offers to remove her engagement ring for the time being. Richard cavalierly assures her that the kids will take the news well. Right. The first misstep of many.

Upon arrival, Richard and Holly find a note left by Richard’s ex explaining that she had to leave, to stay as long as they like and that the kids will be fine on their own until her return. Birthday girl Anna greets them with the older two, Ralph (Lukas Rolfe) and Hanna (Hattie Gotobed) slithering from the shadows shortly after. Things get stranger when Richard insists on proceeding with the planned birthday celebrations that include catching and killing a goose in the yard, sharing vodka shots with his kids, and crashing out in one of the guest rooms. All the while Holly’s ability to maintain a cheery disposition becomes increasingly strained. That’s not to mention the side glances and whispers she notices from the two oldest kids.

I think what works the most in HOMEBOUND is Godwin’s ability to slowly ramp up the tension believably. The obliging Holly continues to accept one slightly strange thing after another from the situation until it has morphed into a nightmare situation from which there is little escape. The conceit is also sold by Loftus‘s performance as the obliging Holly. She is eager to please, and to make nice, knowing she is in a no-win situation. This helps sell the conceit that she would so easily ignore so many red flags.

For this critic, the journey was more than the destination however as the final reveal was a tad underwhelming. The uncomfortable narrative kept building with a satisfying momentum supported by assured direction and performances. Story-wise it all worked but a key moment was handled off-screen denuding it of any major impact and leaving us wanting that moment somehow. It’s all wonderfully unnerving and entertaining enough but then… Fade to black.

7 Out of 10 Nasty family secrets