Sharp Corner

The mild-mannered "Josh" (Ben Foster), his wife "Rachel" (Cobie Smulders) and their son "Max" (William Kosovic) have a brand new home and are looking forward to settling in when there is a car accident outside and a tyre comes a-bouncing through their window at a seriously inopportune moment! Needless to say they are a bit flustered and she thinks maybe they ought to move. Well when it happens again, you'd think that'd be a bit of a no-brainer but he is somehow captivated. Not by the accidents, but by the time it takes the emergency services to arrive, and so he decides to do some training to be able to help out. Of course, his wife and young son are perplexed by his increasingly odd behaviour, as is his boss, and so there's soon a lot on the line for the man. I enjoyed the start of this, and I thought this might be Foster's best performance, but after about half an hour it became a rather joyless exhibition of obsessiveness and selfishness topped off by a truly far-fetched, though sometimes darkly comedic, desire to do good. Smulders does fine, but only features sparingly - which is just as well for given her character is supposed to be a couples therapist, "Rachel" shows a complete lack of appreciation of her husband's trauma and of their son's needs that is ultimately annoyingly breathtaking. Sadly, the initially good idea just turns into a series of overly contrived bad decisions stitched together with an implausible series of incidents that rushed through some universally unlikeable and undercooked characterisations and left me wanting more - or less. Sorry.

It's probably a bit of a stretch to even rate this at 5 stars, just as it's a stretch to label this a thriller. More a drama about a man who seems to become obsessed with life, death and playing God, it's extremely well acted by Ben Foster and Cobie Smulders but good luck finding a character to feel sympathy for when both leads are written as fairly unlikeable. While I had some sympathy for Ben's character at the beginning eventually it eroded. Cobie, as his wife, is written as being a bit too hard and harsh to feel any empathy for. So you end up sitting and watching a movie in which you just kind of dislike the people on screen. I found the ending disappointing and am not sure what the writers were trying to say. It's definitely an interesting watch but nothing to watch a second time. Ben Foster is such a great actor, it's a shame no one seems to be writing great films anymore.

Great directing, editing however terrible story. The wife wanting a divorce as if the husband was some abusive, drug addict loser.

There didn't seem to be an ending, did the guy become the hero of the town? Did he work his issues. Just to cut off like that it was breaking for commercials is just sloppy.

You have to wonder why the transport authority didn't do anything to investigate the high number of accidents? At least install a speed limit or even speed bumps.

A movie like this is going to be watched by grown ups so it needs to be grounded in reality.

If the creators of this movie get a decent script they could create a classic.

I just want to point out two scenes, first when the accident happened and the tire ended at their home at a very difficult moment where it showed how accidents begin to change their lifestyle as soon as they enter their intimacy. The second is when he ruined the traffic lights and the street as if he was the one imposing death and granting life, giving his obsession the maximum extent, free from any controls. I think the movie revolved around these two scenes where Josh's obsession began to grow in a way that destroyed his family life and this obsession surrounded him and took him out of any moral criterion. I thought his obsession was saving lives until the last moment when he destroyed the traffic light and the street to impose what he thought was his ability.

Greetings again from the darkness. Purchasing a home is often called 'The American Dream.' For Josh and Rachel, it's even more special when their son, 6-year-old Max, refers to their new place as "a mansion". Sometimes (especially in movies) dreams turn into nightmares, and that's exactly what happens in this film from writer-director Jason Buxton (his first feature since his debut BLACKBIRD, 2012). Adapted from the short story by Russell Wangersky, this film is billed as a psychological thriller - which it is, yet it's also an enigmatic character study.

Ben Foster (HELL OR HIGH WATER, 2018) plays Josh. Only this isn't the Ben Foster we've come to expect. His usual high-intensity and simmering danger-on-edge is replaced by a mild-mannered man who is even a bit meek whether dealing with his wife or the new manager he once trained at work. Cobie Smulders (Maria Hill in the Marvel Universe) plays his wife Rachel, and their first night in the new house leads to one of the worst cases of coitus-interruptus in history. A car tire comes flying through the living room window just after the loud crash of a car hitting the tree in their front yard. The horrific wreck leaves a young man dead, and the family stunned.

As you might have guessed from the film's title, their new home is located on a dangerous curve. The only warning sign for drivers is mostly blocked by overgrown vegetation. Josh's reaction to the wreck amplifies his struggles at work, while also creating tension with Rachel. He wants to talk about it, and she wants to ignore it. A second wreck has Josh trying to comfort the driver. The wreck convinces Rachel it's time to move, while it simultaneously convinces Josh he could have saved the man's life. Clandestine CPR lessons follow, while family therapy exposes all we need to know.

Rather than a curve, Josh and Rachel come to a fork in the road ... and take different paths. While Josh becomes obsessed with waiting for the next wreck so he can save a life. Rachel simply wants to protect herself and her son, and avoid the obsessed Josh. He's a man who desperately wants to be a savior to strangers, when the best thing he could be is a father/husband. Foster's performance is unlike anything we have seen from him, and it can't help but make us feel uneasy. Director Buxton gives us an early sneak peek at the curve, but mostly we are confused as to why a speed bump or protective/reflective barrier hasn't been installed. Sometimes a movie leaves us feeling like it should have been more interesting, more entertaining, ... more something ... than it was. Foster keeps us watching, yet the whole thing feels a bit hollow.

Opens in select theaters and VOD on May 9, 2025.