The Wasteland Reviewer

undertone (2026) Written Review

How scary can recording a podcast be? If you record it at 3 AM in an almost empty house with a dying woman inside it, you will probably get freaked out a few times! That becomes even more true if your podcast is about haunted stuff. Yes…this all seems like a terrible idea. But that is the core concept for the new A24 horror film from writer/director Ian Tuason, undertone. This film focuses on the experience of Nina Kiri’s Evy who runs a horror podcast with her friend Justin (Adam DiMarco). Evy has more going on with her mother dying upstairs and unexpected ripple in her life with her distant partner. But things change when Justin brings a strange email to the show with 10 audio files attached. What could possibly go wrong…says so many people in horror movies over time. undertone leaps into theaters with a unique prospect though…an audio-focused horror film. Remember…it is not the darkness that is scary. It is the silence. 

How does Tuason and crew bring this film to life? Obviously the most significant element of the film is the sound design. There are two dimensions of sound design during the film. The sound crew can recreate the sound of a podcast cast recording so perfectly that it makes you feel like you are on the call with them as they record. There is an added layer within this space as they listened to the supposedly haunted recordings of a couple which are grainy and authentic in feel (but no less unsettling). But the moments when Evy is walking around the house late at night are just as unnerving as there is a mighty loud sense of silence that keeps you on edge. The visuals are key to the experience as well with Graham Beasley (the cinematographer) making some bold choices along with Tuason. A film about a haunted podcast has the potential to be quite flat from a visual perspective but there are some choices that make the tension and suspense building so much more effective. There are a lot of reflections used in the film which distort and unease the audience. The long panning shots that feel like an entity scanning the space also ratchets up the tension. Throw in a few Dutch angles for distortion. Get a healthy helping of uncentered framing that leaves doorways and spaces clearly begging for something to jump out right in view. The pacing is certainly methodical and the editing more erratic as the film goes on but from a sensory perspective, it is one of the most dynamic and engaging horror films in a long time. 

Does the screenplay from Tuason deliver as well? Narratively, the film is anchored by two tasks. Evy is attempting to record this podcast episode about this creepy email full of disturbing recordings. On the other hand, she is attempting to support her dying mother. The podcast element is certainly drawn out because these recordings are affecting Evy (which not only won’t she acknowledge but then badgers Justin for getting cold feet). You certainly must suspend your disbelief on some level as these characters do everything in the book of “how to get yourself cursed by a demon”. The folk horror elements are all dropped in as you might expect them to be with internet searches (some cliched stuff from a horror movie perspective). But the entity does have an interesting connection to Evy’s other responsibilities (a lot of mother/daughter dimensions throughout the film). The themes are spelled out clearly but effectively even though some of the emotional reflections that Evy makes at the end of the film feel a little inauthentic. Overall, the script is solid and comfortable in its cliched elements, allowing it to take a step back and allow the filmmaking to truly engage the audience.

How does the cast navigate this unique cinematic experience? Kiri is the main fixture of the whole film and most importantly, she feels authentic. This might not be the most dynamic and profound horror movie leading actress performance (of which there are so many iconic ones) but she does everything well. She does shine in the moments she shares with her dying mother as Evy struggles with this impending doom. Kiri sells the headaches and auditory assaults well throughout the film with small physical acting choices. You must give Kiri credit for anchoring this experience down by herself. DiMarco is solid in his performance and is fully vocal. There are certainly moments where he is overdoing it and you can hear the “acting” going on but he does have some good chemistry with Kiri. For being a dying woman who barely moves, Michele Duquet sells it quite well. The other voice performances all feel organic and genuine, so you don’t find yourself questioning those elements along the way. 

Is undertone a truly horrifying cinematic experience? From a technical standpoint, this film is quite excellent in the hands of Tuason and company. Kirir certainly shows up to anchor this whole experience down. The script might not be its strength but there is plenty of thematic work that gets across well. The moral of the story? Say your prayers and don’t record podcasts.