A year ago, Curry Barker was a YouTube prankster making $800 horror movies in his spare time. Now he’s the hottest young name in horror, with a Focus Features distribution deal, Jason Blum in his corner, and the keys to the Texas Chainsaw Massacre franchise. His ascent has been so vertiginous it almost feels like a wish gone wrong. Fittingly, his breakout feature, the supernatural horror film Obsession, is precisely that: a queasy, darkly comic exploration of what happens when a desperate man gets exactly what he asked for.
Obsession follows Bear (Michael Johnston), a music‑store employee paralysed by his feelings for co‑worker and childhood friend Nikki (Inde Navarrette). After one too many cringing missed chances, he breaks open a “One Wish Willow,” a kitsch novelty toy, and wishes that Nikki would love him more than anyone else on earth. He doesn’t read the warnings. The wish works. And then the film begins to tighten its grip like a slowly closing fist. Barker, who wrote, directed and edited the picture, has described his approach as dropping magic into a world where magic doesn’t exist — a decision that grounds every subsequent nightmare in recognisably human desperation.
Obsession weaponises the romantic curse not as a fairy‑tale device, but as a scalpel, dissecting how quickly loneliness curdles into violent entitlement when a wish grants exactly what it promised
Obsession Review: Curry Barker’s Twisted Wish Fulfillment Horror
A Horror Movie Review by Hope Madden & George Wolf
Obsession is a film about consent.
Filmmaker Curry Barker made waves in 2024 with his free YouTube feature Milk & Serial, which you should watch if you have not. Made on a shoestring, the spare chiller is immensely impressive. His second feature shows what he can do with just a little bit more budget.
Barker writes a fresh and relevant take on the “deadly wish” fable. Sad boy Bear (Michael Johnston) can’t bring himself to confess his feelings for co-worker Nikki (Inde Navarrette). He’s so desperate after one cringy missed chance that he breaks open a One Wish Willow he’d purchased as a joke and—without reading any of the warnings printed all over the box—wishes that she would love him more than anyone else on earth.
And she does.
The themes Barker mines are incredibly of-the-moment. Bear wants what he wants, but he wants it to be true. It isn’t, but that’s not good enough. Make it be true. But you can’t make something be true if it isn’t true, no matter how sad the boy is who wants it. Male entitlement masquerading as loneliness leads to violently self-centered behavior. Barker’s story, however jump-scary or genre friendly it becomes, never forgets this central, relevant concept.
Navarrette is especially impressive, able to carve out a recognizable, realistic character quickly so you notice the changes. Johnston, also excellent, naturally unveils the selfish center of the “nice guy.”
Obsession weaponises the romantic curse not as a fairy‑tale device, but as a scalpel, dissecting how quickly loneliness curdles into violent entitlement when a wish grants exactly what it promised
Solid support work from Cooper Tomlinson and Megan Lawless root the fantasy in believable reality. The performances and dialog feel very authentic for this generation, and Barker settles us in to this familiar premise before making his pivot at just the right moment.
The third act not only ups the horror quotient, it draws Bear’s bargain with the sinister edges it deserves and begins a march toward a violent and satisfying payoff.
Barker has a bigger, more expansive canvas here, but his storytelling instincts remain impressively hungry. The film is atmospheric but never overstuffed, with a small group of well defined central characters delivering a clear, concise message of prices to be paid.
Reality can carry a sobering bias. Obsession is bloody reminder that no amount of spin can change the dangers that come from making desperate, narcissistic bargains with the future.
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