The Voyeurs (2021)

Mohan handles his audience with care, diligence, attentiveness, creativity, smoldering passion – the mind positively swims with sexual metaphors. That’s the headspace in which this film leaves us: a well-made gutter we haven’t had the chance to visit for far too long.

In The Voyeurs, writer-director Michael Mohan takes all the lessons of the truly wild erotic thrillers of the 1990s and brings them into the modern age. With a dose of Alfred Hitchcock’s Rear Window and Brian De Palma’s Body Double, The Voyeurs perfectly captures all there is to love about the genre.

The Voyeurs craves to be the most salacious, outrageous non-pornographic movie you stream this weekend, and that itself is enticing. But it becomes a nice bonus that while giving you some gratuitous page-turning thrills, Mohan also juggles art, sex, and death, and dares to go more than skin-deep.

It’s hard to deny that Michael Mohan’s preposterous fable doesn’t exert the dark pull of voyeurism itself.

From the stiff leading performances to the clunky, pretentious dialogue, The Voyeurs often feels like an amateur outing, but there’s also genuine wit in the film’s visual storytelling (particularly a number of clever match cuts), and an unpredictable enough payoff in the third act that it makes for a fresh, memorable viewing experience.