Lure Review

Oliver Cox’s Lure announces itself with confidence from the very first frame. Opening with an intro that feels stylistically akin to American Horror Story, the film immediately establishes its tone: gothic, sensual, and deeply ominous. Moons bleed into branches, shots merge in dreamlike overlays, and the visual palette is drenched in black fabrics, red lipstick, and flickering candlelight. Paired with suspense-heavy music, the atmosphere is thick enough to cut with a knife – culminating, at one point, in what might genuinely be the most tense game of blackjack ever put to screen.

The premise is deliciously cruel: a wealthy, ruthless woman determined to preserve her bloodline assembles six seemingly ideal bachelors, lures them to a lavish party, and traps them at her remote ancestral estate for an annual “tradition” – a deadly, high-stakes game where survival determines worthiness. Think The Bachelorette by way of Ready or Not, with flashes of Saw-like brutality. One particular sequence strongly evokes that franchise, pushing the film firmly into gorefest territory without losing its psychological tension.

At the centre of the chaos is Silvia Presente as Islay, the film’s magnetic and terrifying heiress. Presente is exceptional, walking a razor-thin line between playful enthusiasm and biting sarcasm, all underscored by a chilling, sinister edge. Her performance never tips into caricature; instead, she makes Islay feel dangerously believable. It’s a commanding portrayal that anchors the entire film.

SUPPORT US!!! WE ARE A SMALL, INDEPENDENT FILM WEBSITE WITH NO BIG BACKERS, SO IF YOU LOVE OUR SITE AND OUR WRITERS, PLEASE CONSIDER HELPING US TO KEEP FILM JOURNALISM ALIVE!

Visually, Lure leans into low-key lighting and a bleak, dreary atmosphere that feels distinctly British in tone – restrained on the surface, but simmering with menace underneath. The editing style, heavy with gothic imagery and layered shots, reinforces the sense that this is less a straightforward survival thriller and more a dark fairy tale soaked in blood.

The ensemble of male leads — Kit Esuruoso (Tom), Joey Lockhart (Joe), Joshua Dowden (Connor), Gregory Fung (Marcus), Samy Elkhatib (Francis), and Reece Henderson (Damien), are uniformly strong, each bringing enough personality to stand out even as the body count rises. Their performances help ground the film’s more extreme moments.

What makes Lure particularly compelling is its place within the growing lineage of “good for her” horror-thrillers like Gone Girl, Midsommar, Jennifer’s Body, and Promising Young Woman. While the film is undeniably sadistic, there’s something perversely refreshing about seeing a woman occupy the role so often given to male cult leaders and manipulators in media – not as victim, but as orchestrator.

If there’s a flaw, it lies in moments where injured characters continue functioning far beyond what feels physically plausible. Still, the film’s relentless pace and the logic of adrenaline make it possible to suspend disbelief.

For seasoned horror viewers who rarely feel shocked anymore, Lure still manages a few jaw-dropping moments. As a directorial debut, it’s an impressively stylish and assured entry from Oliver Cox – bold, brutal, and dripping with gothic flair.

★★★

On UK digital from February 2nd / Silvia Presente, Kit Esuruoso, Joey Lockhart, Paul David-Gough, Gregory Fung, Samy Elkhatib, Reece Henderson/ Dir: Oliver Cox/ Reel2Reel Films / TBC

About the Author

Megan Hilborne

Author

Megan is a freelance writer and film critic based in Portsmouth. She graduated with a degree in Film in 2020 and has continued her study of the medium in her day-to-day life. She takes particular interest in indie, horror, feminist and queer cinema. Some of her writing credits include an interview with Academy Award winner Sean Baker and Time’s 2025 Most Influential People inductee Mo Abudu.

View All Posts