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Gazer might be inspired by New Hollywood, but its existence is almost reason to believe that a similar filmmaking renaissance could be on the horizon.

Energized by Ariella Mastroianni’s disoriented and frazzled lead performance, it begins unnervingly and ends, like all such sagas should, with haunting bleakness.

With a limited budget and a lot of dedication to the craft, the project is able to build on its references to thrillers from the '70s and '80s while finding its own footing.

If Sloan and Mastroianni made Gazer with only their limited resources and spark to create something new, it bodes well for the filmmakers' futures and whatever their next project will be.

The main character’s condition feels like a dramatically dubious attempt to shroud the somewhat spindly nature of the film’s plot.

Gazer owes an enormous debt to a few obvious influences, but the movie has just enough vision and atmosphere of its own for the makings of an unnerving, lo-fi, neo-noir.

Metrograph Pictures’ Gazer is effectively a neo-noir mystery, one with heavy 1980s and especially 1970s stylistic trappings, with elements of surrealistic horror dancing on the edges.

As painstakingly crafted as this mystery-thriller is, it remains something to be admired from a distance rather than felt viscerally.

There’s an amusing, low-fi thriller here amid what prove to be too many twists and thickets of cinematic allusion.

There is certainly talent in front of and behind the camera, although it works more like a demonstration rather than reaching for something more compelling.