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I usually don't like saying this but Presence just ended up feeling like a prolonged gimmick of a movie. Because despite the fact that I do think the main idea is quite interesting I don't really think it ended up sustaining a whole feature. If it was a 20-30 minute short I think this premise could've worked wonders and felt like a very unique take on a ghost story. But as is, despite some really impressive camera work, it just ends up feeling like there's a lot of bloat which comes in the form of character drama only some of which I thought actually worked. The transitions between scenes are very abrupt and after a while I felt like I was watching the same 2 or 3 scenes over and over again. The dialogue and the acting can feel quite stilted and a lot of the drama going on between this family doesn't really amount to much with a last minute twist that felt like it belonged in a different movie. For only an 85 minute movie it drags which again goes back to my point that this idea feels better suited to a short. There's a few interesting ideas and more than a few points where I really felt like I was getting what Soderbergh was going for but this really just ended up feeling like a bit of a missed opportunity. I really like the idea and always compliment a film that has a premise I wish I'd have come up with myself. I just wish the actually execution was on the same level.

I want to preface this by saying I thought Presence was a good movie. The acting, camera work, storytelling - all hit the mark for me.

That being said, I wouldn't classify this as a horror film, and I didn't find it scary at all. Suspenseful? Sure, at times. However, the "twist" was relatively easy to catch on to pretty early in the film, and figuring that out sort of detracts from the experience.

I would categorize this film as more of a family drama, with an interesting and unique take on the classic ghost stories of the past. If you're looking for a film to truly scare you, this one isn't it. Almost all of the ghostly happenings are shown in the trailer as well, which was disappointing.

I saw this at a secret screening, which is where you don't know what the movie is going to be.

The movie takes a while to get into anything. You're watching the family settle to their new home which, with movies like paranormal, didn't seem boring. Unfortunately in the case of this movie, the script and subsequent acting from some individuals made it hard to get into/ watch at some points.

During the climax of the movie, the monologue from a certain character (it will make sense what I'm saying when you watch it, I just don't want to spoil anything) was a hard watch. It felt like a school drama performance. This is probably due to a poor script and acting.

The movie as a whole is fine, I wouldn't pay to see it in the cinema, I recomend waiting for it to come out on a streaming service.

This movie is like watching 90 minutes of someone's ring indoor camera. No scares. No action. Barely acceptable dialogue. The theater literally said across the board "are you kidding me". It is family dysfunction and parents griping about raising teenagers. There is build up of multiple storylines that are left on the table and unresolved. I am not one to complain about movies very often. I am of the mind to go in to a movie and just enjoy it for what it is, fiction on a screen. I walked out of this saying I just wasted 90 minutes of my life that I will never get back, for the first time ever. That is the one thing this movie got, I finally found a movie that I felt unfulfilled by.

The people who generally saw this film most likely did so based on the trailer, imagery, and title of the film, all which indicate it's going to be similar to things like 'Hereditary' or 'Babadook'.

This movie is nothing like those. I wouldn't even call it scary. It's not supposed to be. The low ratings are probably from moviegoers who expected it to be, which is fair, no blame on them.

For those looking to watch a very quality movie, with a novel concept, this one might be for you. It has a lot of heart, some powerful social/relationship dynamics, and pulls you in, making you cheer internally for things to happen or not happen.

While I appreciate Soderburgh trying something new, there were way too many missed opportunities to make this movie feel anything other than gimmicky. Don't get me wrong, it was a good attempt at a ghost story but the tone of the movie got tripped up on adding too many distracting elements. It seemed more experimental than anything else; the characters felt forced (especially the parents), the foreshadowing was over the top, and the last ten minutes undid any possible horror that I originally hoped I would find. Definitely walked away feeling disappointed but only because the events leading up to it left too many open ended questions. (One of the biggest being why they would leave their children in an obviously haunted house (this is not a spoiler, it's literally the title of the movie) and then say "make good decisions." Dumb.)

Throughout his career, Steven Soderbergh has dabbled in many different genres, to varying degrees of success. Take a glance at his filmography, and you'll see thrillers, dramas, comedies- an eclectic mixture of movies. From the tantalizing intrigue of 'Sex, Lies, and Videotape,' to the silly hijinks of the 'Ocean's Eleven' movies and the brilliant biopic 'Behind the Candelabra,' Soderbergh refuses to be pigeonholed. Although sometimes he faulters- 'Full Frontal' didn't really work and 'The Laundromat' was exceedingly underwhelming- generally his films are worth a watch.

His newest, 'Presence,' is not. Billed as a psychological horror, the film follows the Payne family's move to a new home. From the outset, there are cracks in their individual relationships, which become heightened when the daughter, Chloe, starts feeling a presence within the building. Is the mysterious entity a mischievous ghost, is Chloe suffering from some kind of mental illness, or is something completely different afoot?

David Koepp wrote the screenplay, and, in fairness, he eschews many of the traditional tropes found within haunted house flicks. However, he also avoids anything remotely thrilling, profound or engaging. It is less horror and more teen drama, and a slow-moving one at that, with caricatures instead of characters as well as dialogue that sounds like bad improv. Further, proceedings come to a halt so abruptly it makes one feel that he lost the pages for his original ending, deciding to make one up on the spot.

As an aside, there is a serious problem regarding the film's marketing. Watch the trailers, and you see ads for a horror movie. You are promised it will "terrify" and is "frightening." You are not told it is about as frightening as a tortoise chasing a snail, and somehow not as fast-paced. The trailers are deliberately misleading, which can only lead to disappointment. (Anecdotally, during the screening this reviewer attended, two people walked out after the first twenty-five minutes, while a young woman loudly denounced Soderbergh for lying during the end credits, claiming she was more scared when she looked in a mirror).

The film does not deliver what it said on the tin. It is a melodrama, essentially, with a ghost thrown in for a bit of flavour. Despite that, there are some interesting moments and canny observations. The portrayal of the mother's complex relationships with her two children rings true, capturing the nuances of family dynamics with authenticity. Similarly, her strained interactions with the father provide a poignant look into the cracks that form in a marriage under pressure.

In addition, Soderbergh's cinematography is striking. Each scene is captured in a single, unbroken take, immersing the audience in a continuous flow of tension and unease. This technique cleverly blurs the line between observer and participant, making the audience feel as if they themselves are the Presence, silently witnessing the unravelling of the Payne family's life like some kind of ghostly voyeur.

However, the scene transitions are jarring, each capped off with a cut to black that feels like the work of a film-student who hasn't got the hang of editing. This feels disjointed and less polished than one would expect from a director of Soderburgh's calibre. In addition, the pacing is laboriously slow, meaning the film suffers from a dearth of momentum or drive. At 84 minutes, it is a short film; Soderberg's editing makes it drag.

Conversely, April Lasky's minimalist production design deserves mention. She and her team have meticulously crafted the Payne family's new home to be both inviting and subtly disquieting. The house itself feels lived-in, cluttered bedrooms full of personal touches giving it an air of authenticity. Imogen Lee's set decoration, from the furniture to the family photos on the walls, helps ground the story in a palpable reality. Furthermore, Zack Ryan's muted score is quite brilliant, subtly creating an eerie sense of dread (that Koepp's narrative sorely lacks) drifting throughout the film like a malign wind.

Moreover, Lucy Liu delivers a compelling portrayal of the mother, grappling with her strained relationships and the growing tension within the family. Her nuanced performance captures the emotional turmoil and complexity of her character, bringing an authenticity that grounds the story amidst the supernatural elements. Chris Sullivan is similarly strong as the father, bringing to life his insecurities with ease. He creates a character that feels well-rounded, despite Koepp's limited characterisation.

On the other hand, as Chloe, Callina Liang comes across as a bit wooden, lacking the emotional range to fully engage the audience. Although by no means terrible, Liang's overall performance feels flat and she fails to elevate the character into someone compelling. Eddy Maday's work as her brother is similarly unexceptional. Further, West Mulholland is insidiously smug and one-note as Ryan, an acquaintance of Chloe's. He isn't given much of a chance, though, lumbered with the most awkward lines in the film; which he recites unconvincingly, as if he were in a bad school-play he didn't fully understand.

In conclusion, Steven Soderbergh's 'Presence' is far away from his best work. Although there are some notable elements, such as striking cinematography and strong performances from Lucy Liu and Chris Sullivan, the film ultimately fails to deliver on its promise of psychological horror. David Koepp's screenplay lacks both thrills and depth, resulting in a slow-moving teen melodrama with caricatures instead of compelling characters. In short, despite a few praise-worthy elements, 'Presence' doesn't leave much of an impression.

Presence is a well constructed, drama-centred ghost story with a very effective story-telling gimmick. The short runtime and tiny cast and set served for an efficient and tight story. The production constraints must have been COVID related but I feel Soderberg used these limitations to the films credit.

The cast were strong and believable as a family unit. Many unseen facets of the characters lives were referenced and the film did a good job of presenting each personality organically. Although I actually found the daughter, who could be considered the films main character, to be the least deeply developed.

Although it's a ghost story of sorts, I would not call it a horror film. It seldom attempts to scare the audience in anything more than a very mild of unease. That said, there were several chilling moments.

Overall I enjoyed Presence and I appreciated its creativity and economical story telling. Although not a sensational film, it was a satisfying and tight story which I appreciated.

This film leaves me feeling a lot like I felt after watching Neon's Longlegs in 2024. A quirky approach to a horror story, mostly well-executed, but with a story that ends up feeling inauthentic and clumsy. Personally I'd much rather watch a film that tries to do something different, even if it doesn't quite stick the landing, than a thousand cheap jumpscare horror clones. Presence did something different so I applaud it.

Pro: genuinely chilling at times: the scene with Natalie Woolams-Torres left the hairs on my arms standing on end.

Pro: mostly good, natural scriptwriting and acting.

Pro: just the right amount of levity at just the right times to keep the audience going without getting too silly.

Con: as the plot gets into its late stages it just doesn't feel right. I'm not sure how I'd have written it instead but there must have been room for a dark, natural and believable way to take the characters where they needed to be without *that* dialogue.

Con: the audience is limited by the characters' likeability here. I think the family father seems compelling but mother, daughter and son all left me feeling a little... uninterested in their fates? In one case this is a deliberate device to drive the plot and make the ending impactful but in the other two it seems inexcusable.

Con: I'm here partly for Julia Fox and she's barely in the movie. Boo! Give me a director's cut complete with 45 minutes of freehold contract negotiations and I'll bump my review up to an 8.

Really dumb movie. Nothing original. Not much happens. I could literally explain to you everything that happens in one minute. Not the plot, everything, the whole movie, not a summary. The brother is a horrible actor, every time he spoke the scene was ruined. But I guess that neither the drama or the story was anything special enough to be ruined. Every character is so unlikable that about halfway through you won't even care what happens. No jump scares, no intense drama, please take the advice of the low reviews and don't waste your money on this one. The high reviews are fake. I only watched it til the end so I can leave an honest review.

Look, if you go in expecting a horror movie, you will be disappointed - hence some of the grumbly reviews. But if you go in with no preconceptions and just want a good movie, this is well worth the watch. I almost turned it off after the first two minutes because I was worried it was going to be yet another pretentious arthouse movie; I am so glad I stuck it out. Beautifully acted and shot - the entire movie is first person POV which is really cool once you get used to it. The only thing scary about this movie is how horrible humans can be - as many people have said, it isn't really a straightforward horror movie. BUT the payoff at the end is beautiful. Give it a chance. It has become my favorite movie I have seen in a while.

A family move into a new home - now I did like the meandering corridors and design of this spacious plot, but quickly we discover that it's a paper thin façade for four people who are struggling to get over a trauma. Nope, nothing new so far and, indeed nothing new to come either as daughter "Chloe" (Callina Lang) falls for the rakish "Ryan" (West Mulholland) who is the new best friend of her hunky, charm free and brain dead brother "Tyler" (Eddy Maday). Pretty swiftly, they are at it but simultaneously she starts to feel that she is being watched. Things move about on their own, her brother's room gets trashed and even the woman they bring in to do the "Madame Arcati" thing thinks something isn't right with the place and it's old silver nitrate mirror. Next thing... Well you'll have to watch it and see, but for me the opening couple of minutes of hand-held POV photography really put me off - especially it's use of the fish-eye, scene-stretching, lenses which people don't actually possess. It made me feel slightly seasick and I couldn't decide if it was a drone cam or a very sure-footed person gliding silently about the place giving us a repetitive third party perspective into the family's lives. Mum (Lucy Liu) rarely puts her laptop down; dad (Chris Sullivan) sort of lumbers around rudderless; the brother is a bit of an attention seeking idiot and finally, the daughter is a moody and uninteresting teenager trying to deal with some baggage about which we learn more, later. The parents come across as a couple who would never in a million years have chosen each other in the first place. At least the production doesn't try to hoodwink us with repetitive visual effects, but what we are left with here is a dialogue heavy story that ends all too abruptly as if the short story it's adapted from just ran out of ideas. Disappointing, sorry.

Look. I see a lot of movies. I go to the movies at least once a month. I keep an open mind and try to objectively look for the positive in any film I see.

So, I'll start with the positive here. The house is beautiful. I wish I owned it. The husband is somewhat likeable and cracks a couple good chuckles.

The negative. It's incredibly boring. The plot has holes like Swiss cheese. Character development is non existent. It's not a thriller or scary or anything other than terrible. Honestly I cannot believe Lucy Liu agreed to the script. She must really be on the downward spiral on her way out of acting altogether. The only good thing about going to see this film was the popcorn and Dr. Pepper.

Presence, was honestly a fairly nice and refreshing idea to watch. And whilst the concept will keep you hooked for a while. The story never really gives that much needed punch that it all build up to, besides that, the events and character choices made here/motivations mostly actually are a bit lacking.

The marketing, the poster, is misguided, because you will be expecting a scary paranormal activity type of movie, this ain't that. It's never scary or that thrilling for that matter.

It's a fairly barebones movie in that respect, it used the novel concept well, but it also has a fairly big downside, that is the actual disconnect, intended or not, that makes connecting to the characters much harder. Whilst acted just fine, the outsider view makes the actual movie experience a lot less engaging.

And thus for the more major events, in this slow burn, that happend I couldn't really be all that bothered, as I felt somewhat distant.

All in all a novel concept worth a watch, it's fairly short too, it will fly by.