A Short That Understands the Weight of Intention

Read Time:5 Minute, 26 Second

MOVIE REVIEW
The Escort
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Genre: Drama, Short
Year Released: 2025
Runtime: 15m
Director(s): Joshua Michael Payne
Writer(s): Blake Merriman
Cast: Blake Merriman, Candi Boyd
Where to Watch: shown at the 2025 Queens World, New York Short, and Big Apple Film Festival

RAVING REVIEW: THE ESCORT takes a setup that starts with familiarity and uses its limited runtime to explore the hidden intentions that can surface when two people enter a room for entirely different reasons. At just 15 minutes, the film avoids the usual pitfalls that plague short-form dramas by refusing to oversell its premise or rely on shock. Instead, it draws its tension from the evolving dynamic between its two characters. Tommy, fragile and hesitant, hires Lucy for companionship, yet the encounter gradually shifts into something different. The film is concise, focused, and grounded in performance without ever drifting into melodrama.

Director Joshua Michael Payne approaches the material with a calm, assured touch. He doesn’t try to expand the narrative beyond what the premise can handle; instead, he leans into the constraints of a hotel room, treating the walls not as limitations but as a pressure chamber. Every pause between lines feels intentional, giving the viewer space to sense the movement beneath the conversation. Payne’s director statement emphasizes his interest in psychological terrain, and that sensitivity is evident in how the film handles discomfort without resorting to sensationalism.

The film opens by presenting Lucy as the more controlled presence in the room. Played by Candi Boyd, she carries a natural authority that doesn’t rely on intimidation or defensiveness. Her portrayal avoids the stereotypes associated with on-screen escorts; instead, she brings clarity, professionalism, and empathy, keeping the character grounded. Boyd manages a careful balance, showing experience without apathy and warmth without appearing naive. Her reactions guide the audience, especially as Tommy’s demeanor reveals itself to be shaped by loneliness rather than confidence.

Tommy, played by Blake Merriman, is introduced as someone struggling to articulate what he wants. His awkwardness is not exaggerated; it arrives in gestures, glances, and pauses that reflect a young man who hasn’t yet figured out how to navigate vulnerability. Merriman’s performance is tightly held, allowing the character’s uncertainty to feel genuine. This internal friction becomes the foundation of the film, shaping how the encounter develops as moments of hesitation become more revealing than any confession could be. The viewer starts to sense that something is building beneath Tommy’s polite exterior, and Merriman does not give those intentions away too early.

The interplay between Boyd and Merriman is the film’s pulse. They demonstrate an intuitive understanding of how to escalate tension without tipping the balance too quickly. Their conversational tone never feels forced, and even the smallest turns in direction feel earned. This partnership is clearly strengthened by Merriman’s background as both writer and actor. His familiarity with the material helps clear the path for Boyd’s performance, allowing both sides of the exchange to feel specific rather than generalized.

What makes THE ESCORT engaging is its willingness to sit in ambiguity. Tommy is not presented as a villain, nor is he framed as a misunderstood young man whose pain excuses questionable choices. The film avoids moralizing Lucy’s profession, treating her with respect and dimensionality. But it also doesn’t turn her into a moral compass. Instead, the film acknowledges that two people can walk into the same room with conflicting expectations, and the tension arises not from what they do, but from what they fail to communicate. The film allows the viewer to infer danger without making it explicit.

Payne’s direction also demonstrates a clear understanding of the short film format. Instead of attempting to create a miniature feature, he builds a self-contained moment that feels complete without needing broader exposition. The final moments deliver a subtle emotional shift that recontextualizes earlier interactions without resorting to shock value. It leaves the viewer with a feeling of unease rather than closure, and in this format, that restraint is more effective than a definitive ending.

THE ESCORT stands out for respecting its own scale. Payne’s creative voice, Merriman’s writing, and Boyd’s nuanced performance converge to create something quietly provocative. It’s a story about intention, vulnerability, and how unspoken emotions can turn a simple encounter into something dangerous. The film never pushes the viewer toward a single interpretation; instead, it allows the uncertainty to linger. The irony is that I caught onto the tone and/or intention early on in the film, and I don’t think the team tried to hide it; however, it became more about the “how” and “why” instead of the idea that I knew what the film was and how it would play out.

THE ESCORT succeeds because it understands that tension is more powerful when it’s rooted in emotional uncertainty rather than theatrics. It’s a contained story with just enough complexity to leave the viewer thinking about what wasn’t said, and what might have happened outside the frame. With its tight pacing, strong performances, confident direction, and subtle emotional layering, it becomes a memorable entry in the short film space.

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[photo courtesy of A NIMBLE REMARK]

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