Jogger

As a big fan of both the horror genre in general and indie films I was excited to watch this when I saw it listed at a horror convention. I even met Michael Romano there.

Let me just say that I was thoroughly dissapointed in this film, and meeting the man responsible for it was not much better.

Overall it was just a lazy, poorly thrown together collection of worn out ideas. Of course I have to ask; what more can you expect from a man who attends a convention looking like a homeless person?

I sincerely hope if he's going to continue down this path that he will put at least little bit more effort than this into his next project. A shower wouldn't be a bad idea either.

To the user who called me rude, I'm pretty sure you are Michael. People wouldn't assume you live in your car if your hair wasn't a greasy mess and your clothes actually fit you.

I approached Jogger expecting horror, but what I got felt closer to a spiritual odyssey in moisture-wicking fabric. It's not so much a film as it is a quiet confrontation with the concept of momentum.

The cinematography oscillates between "deliberately disorienting" and "someone forgot the tripod." The sound design is subtle, almost daringly so-at one point I thought my speakers had broken, but no, it was just ambience. Visually, the film is a blend of handheld immediacy and "we just found this flashlight." The audio design is hauntingly realistic-I could almost hear the regret of agreeing to be in the film.

In conclusion: Jogger is a film. It contains movement, shadows, and at least one decision. Highly recommended for fans of cardio, abstraction, and mild confusion. In all seriousness, I'd recommend looking in a crackhead's window over watching this film..but if you did you may unfortunately find the writer/director sitting inside.

When I saw the ratings and reviews I thought maybe people are being to harsh with their judgments, so I tried to give this a fair chance.

Unfortunately there is nothing good I can say about it. It was bad all around and I could not get the word "cliche" out of my head the entire time. It really is just more of the same, as the other users stated.

I don't usually give a bad review but in this case I have to admit the previous reviews were painfully accurate.

I recommend skipping this one and finding something else to watch. It really is just that bad.

It's so bad, and so short it's actually quite difficult to come up with the minimum number of characters required.

Jogger sets out to be a chilling supernatural thriller, but what it delivers instead is a tedious and deeply misogynistic slog through worn-out tropes and lazy storytelling. Despite its eerie premise-a young woman named Julie returns from the grave to torment her killer, Charlie-the film fails to rise above cliché or justify its existence in an already overcrowded genre.

From the outset, Jogger revels in the brutalization of its female lead. Julie, described as "vibrant" and full of life, is reduced to a narrative device, existing solely to suffer and then exact revenge in a manner that feels more punitive than empowering. Her character is never developed beyond the archetype of the beautiful victim, and her murder is portrayed with disturbing detail and little narrative necessity-an exploitative choice that highlights the film's uncomfortable fixation on female pain.

Worse still, the film seems far more interested in the emotional toll her death takes on Charlie, her killer, than in honoring Julie's experience. Viewers are asked to sympathize with a man being haunted-not with the woman whose life he ended. This lopsided perspective not only reinforces a troubling gender dynamic but also suggests that the real tragedy is his suffering, not hers. It's a textbook example of misogynistic storytelling, cloaked in the superficial guise of a ghost story.

As for the pacing, Jogger plods along with all the urgency of a Sunday stroll. Scenes drag, dialogue is stilted, and the supposed psychological tension never materializes into anything more than repetitive jump scares and dreary monologues. The cinematography does little to elevate the experience, with uninspired visuals and a washed-out palette that mirrors the lifeless script.

Even the ghostly revenge arc-arguably the most promising element-feels like an afterthought. Julie's presence is underutilized, and her moments of retribution lack the cathartic bite needed to make the audience feel anything but boredom. Instead of building a compelling arc, the film lurches from one tedious sequence to another, culminating in a finale that is both predictable and unsatisfying.

In short, Jogger is not only boring-it's offensively so. It mistakes violence against women for drama, guilt for depth, and monotony for atmosphere. Skip this one. Your time-and your respect for storytelling-deserve better.

From the very first frame, this short film doesn't just grab your attention-it catapults you into a world so vividly crafted, so emotionally resonant, that you'll forget you're watching something under 20 minutes long. It is, quite simply, a jaw-dropping triumph of storytelling, vision, and technical brilliance.

The direction? Flawless. Every shot feels intentional-each frame a painting, each transition a ballet of emotion. The cinematography is so gorgeous, so rich in texture and tone, that it practically breathes. The lighting alone deserves its own standing ovation.

And the acting? Transcendent. The performances are so raw, so honest, so heartbreakingly real, that they'll haunt you long after the credits roll. With a single glance or tear, the cast delivers more depth than some feature films achieve in two hours.

The score is a revelation-both soaring and subtle, it underlines every emotional beat with near-telepathic precision. It doesn't accompany the story; it elevates it to the realm of the sublime.

This isn't just a short film. It's an experience. A thunderous reminder that true art doesn't require a three-hour runtime or a $200 million budget-it just needs a voice, a vision, and an unflinching desire to tell the truth.

Bravo. Encore. And thank you-for reminding us all what cinema is capable of.