‘Lurker’: Sundance Review

Dir/scr: Alex Russell. US. 2025. 100mins

Alex Russell’s slick psychological drama Lurker feels like a throwback to Fatal Attraction-style scenarios as a rising music star finds himself at the mercy of an obsessive stalker. Russell takes a less melodramatic, genre-influenced approach to the material, creating a measured portrait of shifting power dynamics and the irresistible lure of celebrity. It isn’t entirely satisfying but the intriguing concept, strong ensemble cast and polished execution have commercial potential following the film’s Sundance premiere and subsequent play as a Berlinale Special Gala.

A measured portrait of shifting power dynamics and the irresistible lure of celebrity

Russell, a writer and producer on television series The Bear and Beef, makes an assured directorial debut from a screenplay that was on the 2020 Black List. Archie Madekwe, a Screen Star Of Tomorrow in 2017, is one of the producers and co-star of a film that has some affinities with Emerald Fennell’s flamboyant thriller Saltburn, in which he also co-starred. Madekwe’s Oliver is at the start of what promises to be a hugely successful music career. When he browses through a cool LA clothes shop, retail assistant Matthew (Theodore Pellerin) seizes his opportunity. They bond over a shared appreciation of Nile Rodgers track ‘My Love Song For You’ and Matthew is casually invited to come backstage at a gig later that day. It is all the encouragement he needs.

Prolific Canadian actor Pellerin has the look and some of the mannerisms of a young, gawky Anthony Perkins. His Matthew is all wide-eyed innocence, nervous gulps and a Lady Diana tilting of the head. It seems obvious – perhaps too obvious – that the creepy Matthew is not as guileless as he initially appears. His awkward first encounter with Oliver’s band members shows just how much humiliation he is willing to endure to gain acceptance and start his journey from hanger-on to inner circle confidant.

Matthew seems the kind of  conniving character that we’ve seen down the decades from All About Eve (1950) through various incarnations of Patricia Highsmith’s Tom Ripley and beyond. As Matthew gradually makes himself indispensable – including travelling with the band to a London gig – he is assigned to direct a behind-the-scenes documentary, allowing Russell to include handheld, fly-on-the-wall video recordings in the visual mix. Madekwe’s Archie by contrast has an appealing sweetness and a vulnerability to the flattery of others. He is also a very impressive singer. The videos, concert appearances and performance of tracks like ’Love And Obsession’ and ’Sweet Talk’ allow Madekwe to create a rounded, convincing character. 

A very able supporting cast is used to reflect the audience’s reaction to Matthew, with Havana Rose Liu investing manager Sahi with a shrewd awareness of the games being played and Zack Fox’s charismatic band member Swett amused, indulgent and then unsettled by Matthew’s sudden ubiquity. 

Russell provides some insight into Matthew’s everyday life, showing the home he shares with his grandmother and the resentment he feels when fellow retail assistant Jaime (Sunny Suljic) also tries to befriend Oliver and his band. There are moments when his eager-to-please mask slips and we see his anger and vindictiveness. Matthew feels like a familiar delusional loner, and it seems we know exactly where the story might be heading.

Lurker is sometimes a little too on the mark, especially with Russell’s repeated use of James And Barry Purify’s performance of ’I’m Your Puppet’ on the soundtrack. He also stretches credibility with the rushed way that Matthew gains the upper hand and acquires the means to bend Oliver to his will. Nevertheless, subsequent twists in their dynamic and the hints of some possible sexual attraction between them help the film build to a less obvious conclusion.