WHO’S WATCHING OLIVER: A Demented Film Destined To Be A Cult Classic

Who’s Watching Oliver is one of the most sadistic, hypnotic films of the year. You will want to look away, even possibly turn it off, but you won’t be able to. Movies like this can be too much for audiences, and may have viewers turning their eyes from the screen in horror. But Who’s Watching Oliver is a film you can not stop watching. It’s so demented, you wont be able to shake it when the film ends, both from horror and outstanding performances.

Some would refer to this film as torture porn, placing it alongside such films as Hostel, Saw and The Hills Have Eyes. Yet, Who’s Watching Oliver differs, being the only film of this nature that invites audiences to have empathy for its killer. This sadistic take on autism, regarding an individual controlled and manipulated by his sexually abusive mother, draws a need, from its audience, to comfort the eponymous Oliver.

Who’s Watching Oliver, from director Richie Moore, is a hard film to stomach at times, yet it is a film that will lend itself to a new level of torture porn and horror films. With its attempt to infuse a deeper story plot and a lead actor strong enough to encompass such an emotionally unstable individual, Who’s Watching Oliver is the horror film to see this year.

Who’s Watching Oliver

It opens in a desolate room, with nothing more than a bed, table, vanity and the necessary amenities for proper hygiene. An alarm clock and picture of an older woman are the only decor that clutter the night stand and vanity. Oliver (Russell Geoffrey Banks) begins his day as he would any, regimented and timed out. Right away, you understand the mental capacity of Oliver and the way in which he needs to live his life.

After his morning routine, Oliver heads out into town, camera in hand, and makes his way to a local theme park. He seems awkward and unsure of himself, lonely and secluded. Closing out the night, he tries to convince himself he can talk to a woman at a local bar, his internal monologue debating the proper things to say to a lady at the bar to spark a conversation – and possibly take her home. While you feel yourself feeling sorry for Oliver, the mood is quickly changed as he takes her to his apartment to indulge in drugs – and violent sexual abuse while his mother (Margaret Roche) digitally looks on.

Oliver’s life has been like this for years, his mastery of deception and violent nature clear from the first moment he reveals his true intentions to the lady. Yet, when he meets a woman named Sophia (Sara Malakul Lane), a romance budding between them, Oliver begins to questions his own actions and who the true sociopath is. Fighting with his own internal struggles, Oliver must find a way to defeat his demons in order to save the woman he loves.

Watching for the Specs

Who’s Watching Oliver is a tragic love story entangled in an emotionally abusive torture porn film. There was so much within this film that was executed perfectly. While there are slow moments within the film, moments you might find yourself wondering how much time is left, this 87-minute directorial debut from director Richie Moore will not lose you for long.

The set was brilliant, plain and void of practically anything. There were only the necessities, with nothing around to distract Oliver. There was also a fairly large framed picture of his mother, usually out of focus in the background behind Oliver – a constant reminder of what is important in his life. The lighting utilized within the film was effective and timely, bright for Sophia, the love story introduced in the film, but dark and desolate during the bleak and violent moments of Oliver’s life. The contrast created by the lighting brought the film mood and tension.

The music also created a contrast from what you were seeing versus what you were hearing. During the violent rampages of the night, upbeat jazz music would stream from Oliver’s computer. The rhythm of the music would fill the room, like the lighting, further heightening the tension on screen. When what you hear does not match what you see, there’s a dissonance for the viewers that will put them on edge and make them audibly uncomfortable.

The character development and performances were on point. Oliver was such a thoroughly planned out character, nuances seeping through no matter the situation that was presented on screen. Geoffrey Russell Banks was phenomenal, and officially the next actor on my list who’s filmography I have to become acquainted with. The camera created several close framed shots on his face, the emotions pouring from him. He was clearly a character torn – tension and turmoil, right and wrong a constant topic on his mind. There’s a kindness within Oliver that is screaming to break through, Banks‘ eyes portraying the angst perfectly.

Margaret Roche brings a new level of diabolical to Mama. Honestly, Roche seemed to have a little too much fun with the role. Her laugh will send chills down your spine and will resonate in your mind as the final credits role. Sara Malakul Lane, as Sophia, is sweet and innocent, yet doesn’t contrast the horror of Oliver’s life as much as she should.

My only true complaint with the film was the beginning of the relationship between Oliver and Sophia. While it can be argued that in the moment of meeting, there was something about Oliver that Sophia saw in herself that drew her to him, the spark of their relationship was seemingly random and rushed. They did have a lot in common that lended to understanding, but the meeting of the two seemed forced and lacking believability – which says a lot considering the nature of this film.

A Watchful Eye Will See the True Monster

It is interesting that the character of Oliver was endowed with autism, as it does not define nor control him. Oliver is not trapped by his disability but by his mother – an abused child that never grows up. Oliver is the perfect henchman for his mother as his autism allows him to be meticulous, regimented and thorough. She is the Mrs. Voorhees to Jason, The Mother to Norman Bates.

Yet, is Oliver the monster in the film? Is it his mother? Or is someone else the monster all together? No definitive answer is ever given in the film, yet the room for speculation was brilliant, allowing the film to live on in conversation long after the film has ended. The true identity of the sociopath within the film will leave many to debate, not just the monster, but the nature and origin of evil – as well as what compels it.

Conclusion

Who’s Watching Oliver is one demented film, yet one of the strangest I have not been able to shake. With a deeper plot than movies of this type, Oliver rises above those that have come before and is poised to become a cult classic for lovers throughout the genre. If there is one thing I have to leave you with, Don’t Stop Watching after the credits begin to roll or you will miss one hell of a perfectly set up final scene. I can see why this has been a festival hit and already have a list of friends in mind I can’t wait to recommend it to.

Have you seen Who’s Watching Oliver? What are your thoughts in regards to the real monster? Tell us your thoughts in the comments below!

Who’s Watching Oliver will be released on VOD in the US on July 3, 2018. For all international release dates, see here.

https://www.youtube.com/watch?v=Z-xx20Tahic