A Father Fights What He Can’t Understand

Read Time:4 Minute, 58 Second

MOVIE REVIEW
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Genre: Thriller, Sci-Fi, Horror
Year Released: 2025
Runtime: 1h 46m
Director(s): Jason Eric Perlman
Writer(s): Jason Eric Perlman
Cast: Jake McLaughlin, Arielle Kebbel, Theo Rossi, Miki Ishikawa, Yoson An, Clyde Kusatsu, Kavi Raz, Danni Wang, Art Newkirk, Carson Minniear, Vince Foster, Megan Blake
Where to Watch: opening in select theaters and on digital August 8, 2025

RAVING REVIEW: There’s a fine line between recovering the past and being consumed by it. SITE plants itself firmly at the intersection of memory, trauma, and metaphysical unease, unraveling a slow-burn psychological thriller that’s just as much about family and grief as it is about sci-fi horror. While the concept may evoke something familiar, the execution feels personal and ambitious, driven by a lead performance that elevates its darkest moments.

Jake McLaughlin anchors the film as Neil Bardo, a father and husband whose life begins to splinter after an encounter at an abandoned government facility. What follows isn’t just a descent into madness—it’s a meticulous dissection of perception, one where time bleeds into itself and memory becomes both weapon and curse. McLaughlin doesn’t just play a man untangling; he plays a man fighting to rebuild something with nothing left but parts of what he holds onto.

Director Jason Eric Perlman, working from his script, explores themes of intergenerational fear, identity loss, and the burden of secrets long-buried. There’s a rawness to Neil’s disorientation that echoes real emotional damage, not just gimmickry. When one of Neil’s visions leads to an accident that nearly injures his son, the stakes shift from abstract mystery to visceral urgency. That choice keeps the tension grounded even as the film begins to play with timelines, visions, and possibly alternate realities.

What helps SITE stand out in a crowded genre is its ability to balance ambiguity with stakes. The hallucinations are intense, sometimes terrifying, but they’re not forbearing. They carry consequences. They fracture Neil’s relationship with his family. They threaten his role as a father. And perhaps most chillingly, they hint at a legacy of trauma far older than the triggers that cause them.

Arielle Kebbel as Elena and Theo Rossi’s portrayal of Garrison provide thoughtful support, never overshadowing McLaughlin’s performance but giving his spiraling descent a much-needed counterbalance. Kebbel brings warmth and weariness in equal measure, a believable partner grappling with a man she no longer recognizes. Rossi’s presence is quieter, more observant, but effective in creating a link to the town and its secrets. Miki Ishikawa’s Naomi and Yoson An’s Jian add complexity to the enigma surrounding the test site, even if their characters would have benefited from more development. We see them, but we want more!

The film’s visual language effectively supports its ambitious narrative. The use of balanced framing and color desaturation in the facility sequences reinforces a sterile, haunted atmosphere. Quick cuts and sound design push viewers into Neil’s disoriented headspace without relying on cheap tricks. There's a tactile quality to the visuals that makes even the most surreal moments feel tangible, like trauma trying to claw its way to the surface.

At times, the ambiguity tips too far toward obscurity, with some revelations about the site's purpose or Neil’s visions feeling more symbolic than fully fleshed out. The film’s third act leans heavily into metaphysical territory, and while that boldness is admirable, it may leave some viewers wishing for firmer ground to stand on. A few of the film’s peripheral characters appear and disappear with too little consequence.

Still, those flaws don’t derail what SITE does right. It dares to provoke and haunt rather than explain. It’s more about emotional truth than scientific accuracy, and its biggest questions—what parts of our history define us, and what happens when we’re forced to confront them all at once—linger long after the credits roll.

SITE is a compelling and deeply personal genre piece. It isn’t afraid to take its time, to sit in grief and confusion, and to blur the line between what’s remembered and what’s imagined. For viewers willing to trust the experience, this is a psychological thriller with both heart and bite—one that believes horror can come not from what’s hiding in the dark, but from the past we pretend is over. Traditionally, I don’t like films that feature “stylized” artsy segments, but SITE uses these moments to further the movie in a way that adds depth to the experience.

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[photo courtesy of BLUE FOX ENTERTAINMENT]

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