Presence Review: Not Really a Horror Movie
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Presence
Director: Steven Soderbergh
7
Where to Watch Presence?
Presence might have one of the coolest concepts I’ve seen in a horror movie this year. Unfortunately, it’s also one of the most underwhelming. Marketed as a horror film that will “terrify you,” it promises chills, scares, and haunting tension, but delivers something far tamer and far slower. The trailer feels like we are getting something out of Insidious or Paranormal Activity, but the finished product doesn’t land the same.
While the idea behind the movie is genuinely intriguing, and the technical execution is admirable considering its constraints, the final product doesn’t match expectations. What we get instead is a quiet drama with a horror backdrop, lacking the momentum or urgency to truly thrill or engage. It’s the kind of film you can respect for the swing it takes, but that doesn’t make it particularly enjoyable to sit through.
The plot follows a family of four as they move into a new home, hoping to start fresh. But there’s an undeniable tension from the start. Something feels off, and before long, it becomes clear that they’re not alone. As family tensions simmer and relationships strain under the pressure of personal issues and old wounds, the possible presence of a supernatural entity begins to drive an even deeper wedge between them.
The story is told entirely from the point of view of “the presence” itself, which gives the movie a unique visual hook. We never leave the house, and the camera is always fixed in a slow, floating point-of-view, watching the family unravel in real time. It’s a clever concept, but sadly, the narrative doesn’t capitalize on the potential of that setup.

Let’s start with the positives. First off, the way this film was made is truly impressive. Shot in just eleven days on a modest $2 million budget, Presence manages to look and feel like a bigger production. The cinematography is controlled and immersive, and the creative decision to tell the story through the eyes of the entity is a bold stylistic choice that works more often than not.
The camera’s slow, steady movements add a voyeuristic element that makes you feel like a ghost lurking in the corner of the room, always present, always watching. For a horror film that avoids the usual tricks, no jump scares, no flickering lights, no musical stingers, it deserves credit for being original.
The performances also help keep this movie afloat. Chris Sullivan is particularly strong as the father, Chris. His performance is raw and honest, navigating a wide range of emotions as his character deals with stress at work, tension at home, and inner emotional turmoil. Sullivan brings a heavy realism to the role that elevates every scene he’s in. You can feel his character crumbling in real time, and it’s compelling to watch.
Callina Liang also does a great job as Chloe. Her character starts out skeptical and a little closed off but grows steadily more emotionally aware and connected as the movie progresses. It’s clear that the filmmakers made character development a top priority. For a movie that’s only 90 minutes long, it’s impressive how much evolution we see in all four main characters. We never see the outside world, but we get a strong sense of what’s happening beyond the house just through the dialogue and performances.
That said, the film’s major flaw is that it’s boring. The pacing is glacial, and for something labeled as horror, there’s very little actual fear or tension. Once you realize that no jump scares are coming, and that the ghostly presence isn’t going to do anything overtly creepy, it becomes a long, slow sit. There’s a lot of walking around, a lot of whispered arguments, and a lot of internal family drama, but very little actually happens.

The trailer implies something much scarier, and that misalignment between expectation and reality really hurts the viewing experience. If you came in expecting psychological horror or something deeply unsettling, you’re going to be disappointed.
The story itself also feels a bit too light. The film starts with intrigue and mystery, but that quickly fades, and the middle portion of the film becomes a sluggish series of interactions that don’t really go anywhere. The tension never builds the way it needs to. By the halfway point, it feels like the movie is just treading water, waiting for something to happen.
That “something” finally comes in the last ten minutes, an ending that is actually fantastic. It’s the most exciting and emotionally satisfying part of the film. The final moments are well executed and explain a lot of what came before. If the rest of the movie had carried even half the energy and creativity of the finale, this could have been something really special.
Still, there’s merit in what Presence tries to do. The film explores the slow erosion of a family; how emotional distance, addiction, grief, and personal demons can wear people down, even in the absence of any supernatural force. In fact, the movie works better as a quiet domestic drama than it does as horror.

Its themes of mental health and substance abuse are handled with care and realism, and the conversations the characters have feel genuine. There are moments of vulnerability and connection that ring true, and those moments are what give the film its emotional impact. It just happens to be framed in a horror shell that it doesn’t fully commit to.
Ultimately, Presence is a film that’s more interesting than it is enjoyable. It’s admirable for its ambition and execution, but the final result is a slow, sometimes tedious watch that fails to deliver on the promise of its premise. Horror fans looking for scares will be disappointed, and drama fans may be put off by the ghostly framing.
If you adjust your expectations and view this as a minimalist family drama with a twist, it might land better. A solid cast, unique perspective, and meaningful themes earn it some credit, but the lack of momentum, suspense, and engagement make it a hard one to recommend broadly.