Night Swim Review

At its core, Night Swim offers a unique horror concept: a backyard swimming pool that becomes the source of supernatural terror. It’s an idea ripe with potential for eerie visuals and unsettling atmosphere, particularly in the hands of horror giants Blumhouse and Atomic Monster. Director Bryce McGuire, adapting his four-minute short into a feature-length debut, sets the stage for a chilling exploration of suburban unease. However, while the concept holds water, the execution struggles to stay afloat. What starts as an intriguing setup is dragged down by repetition, tonal confusion, and a reluctance to embrace the absurdity of its premise.

The story centers on the Waller family, who have just moved into a modest suburban home, complete with a neglected backyard pool. Ray Waller (Wyatt Russell), a former professional baseball player, is adjusting to life after his multiple sclerosis diagnosis forced him to retire. The pool serves a dual purpose: it’s a tool for his physical therapy and a symbol of the family’s fresh start. His wife Eve (Kerry Condon) is eager to put down roots after years of uprooting their lives, and their children — teenage daughter Izzie (Amélie Hoeferle) and younger son Elliot (Gavin Warren) — are adjusting in their own ways. The family dynamic is brought to life through strong performances, with Russell and Condon in particular grounding the story in emotional authenticity. Their chemistry as a couple weathering life’s challenges lends credibility to the characters, even as the plot begins to unravel.

Initially, McGuire does a commendable job building suspense. The pool, a bland, rectangular relic of 1970s suburbia, is a clever choice for the setting — its unremarkable appearance contrasts starkly with the sinister presence lurking beneath its surface. McGuire’s use of underwater perspectives, reflective surfaces, and distorted sound design creates an unnerving atmosphere, suggesting that danger is always just out of sight. Early scenes, such as one where a child is nearly dragged under while retrieving a toy boat, are effective in setting the tone. The tension is palpable, and the sense of dread feels earned.

Unfortunately, this promise is short-lived. The scares quickly become repetitive, relying on the same tropes — flickering lights, ominous gurgles, and figures watching from the pool’s edge — that lose their impact after multiple iterations. The film’s inability to build upon its initial tension leads to diminishing returns, with each subsequent scare feeling less effective than the last. By the time the film reveals the supernatural origin of the pool’s malevolence, the explanation feels laughable rather than terrifying. It’s a moment that could have embraced the inherent absurdity of the concept, but instead, it highlights the film’s tonal inconsistency.

One of Night Swim’s biggest missteps is its refusal to lean into its potential for dark humor. The idea of a killer swimming pool is undeniably silly, yet the film insists on treating it with dead seriousness. Scenes like a possessed pool cover trapping a swimmer or a glass of water ominously sliding off a table are played with an earnestness that borders on parody. This refusal to acknowledge the goofiness of its premise robs the film of the opportunity to become a campy, self-aware horror gem. Instead, it teeters uncomfortably between wanting to be taken seriously and inadvertently becoming a source of unintentional comedy.

The screenplay, co-written by McGuire and Rod Blackhurst, struggles to balance character development with the demands of a full-length horror narrative. While the actors do their best to inject depth into their roles, the script offers little for them to work with. Subplots, such as Elliot’s desire to live up to his father’s athletic legacy or Izzie’s struggles to fit in, are introduced but never fully explored. These threads could have added emotional weight to the story, but they remain underdeveloped, leaving the characters feeling one-dimensional.

Visually, the film is serviceable but unremarkable. Cinematographer Charlie Sarroff captures some striking underwater shots, and the pool’s design — unassuming yet menacing — serves as a fitting backdrop. However, these moments are undermined by an overreliance on strobe lights and loud jump scares that fail to deliver genuine fright. By the time the film reaches its climax, the tension has dissipated, leaving the finale feeling more tedious than terrifying.

Night Swim is a frustrating experience because it hints at the potential for something truly memorable. The performances, particularly by Russell and Condon, elevate the material beyond its limitations, and the initial setup is genuinely intriguing. However, the film’s lack of narrative innovation, repetitive scares, and tonal missteps ultimately drown what could have been a refreshing addition to the horror genre. It’s a case of a short film concept that loses its power when stretched to feature length, leaving audiences wading through shallow waters in search of a scare that never quite comes.

For those who enjoy horror movies that play with unconventional settings, Night Swim may offer fleeting moments of interest. But for anyone seeking a genuinely scary or innovative film, this is one dive that might be best avoided. Instead, revisit the original short or wait for a horror story that knows how to swim in deeper waters.