Birthday Bash Becomes Nightmare on Wheels

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MOVIE REVIEW
Don't Turn Out the Lights
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Genre: Horror
Year Released: 2023, 2025
Runtime: 1h 49m
Director(s): Andy Fickman
Writer(s): Andy Fickman
Cast: Bella DeLong, Amber Janea, Daryl Tofa, Finley Rose Slater, Ana Zambrana
Where to Watch: Available on UK digital on March 17, 2025

RAVING REVIEW: DON’T TURN OUT THE LIGHTS opens with a clever sleight-of-hand. Right from the opening scene—a child's gentle humming twisted into something quietly menacing—there’s a promise that the film intends to keep you with that uneasy feeling. This supernatural horror outing is ambitious in its attempt to fuse familiar scary-movie tropes with an unnerving, closed-in atmosphere, though it stumbles more often than succeeds.

We follow a group of college friends on what should be a carefree road trip to celebrate Olivia’s birthday—their destination: the much-hyped Blue Light Music Festival. Predictably, things turn dark when Olivia’s boyfriend Michael decides to “borrow” his uncle’s worn-out RV, setting off alarm bells for anyone who has ever watched a horror movie. Despite the predictable setup, the film does present ample opportunity for creative scares, but it falls short by not adequately exploring the possibilities offered by its creepy scenario.

The group dynamic initially sets the stage for intrigue: Chris, the laid-back party enthusiast; Sarah, who remains disinterested and somewhat detached; Gaby, who carries with her the emotional baggage of a past injury; and the odd man out, Jason, a former marine and acquaintance of Michael. The ensemble hints at plenty of juicy interpersonal conflict, but disappointingly, much of the potential for genuine tension goes untapped. Jason’s integration into the group, especially, feels forced rather than natural, which dilutes the audience's ability to connect to the group.

Early scenes tease a compelling threat from hostile locals, ranging from aggressive truck drivers to shady bar patrons. However, writer/director Andy Fickman oddly pivots toward supernatural territory just as the threat builds genuine tension. The narrative loses momentum by quickly sidelining these intriguing (though familiar) antagonists, leaving audiences uncertain about what type of horror experience they're watching. Rather than deepening suspense, this shift diffuses it, leaving viewers stranded between realistic danger and ghostly ambiguity.

The strongest element in the movie’s favor is undoubtedly its confined RV setting. Films with limited, tight spaces often leverage them to intensify characters' psychological stress. Here, though, the potential is frustratingly underused. Opportunities to explore how being trapped together might realistically fracture the group’s trust or sanity remain superficial. Characters make questionable decisions—like wandering into obvious danger—which undermines the authenticity of their reactions and distances the audience from the tension that should be building naturally.

On the performance side, the film is inconsistent but still manages a few standouts. Ana Zambrana delivers the film’s most engaging portrayal, giving her character, Gaby, a believability that helps anchor more chaotic sequences. Bella DeLong and Amber Janea also do commendable work during tense moments, though neither is given enough depth or development to elevate the film. Unfortunately, other actors veer into exaggerated performances and caricatures, inadvertently highlighting the film’s weaker aspects rather than heightening suspense.

Yet, despite all these issues, the movie still occasionally delivers genuine scares. Several isolated scenes demonstrate Fickman’s ability to craft moments of suspense, using clever framing and smartly timed shocks. These brief glimpses suggest that the movie might have excelled under different circumstances—perhaps with stronger writing or more deliberate execution. They show that beneath the uneven surface is potential waiting to be realized.

Ultimately, DON’T TURN OUT THE LIGHTS suffers from a fundamental identity crisis—it can't decide whether to break new ground or stay comfortably within established horror conventions. The result is a film that doesn't fully tackle either count. Casual viewers might find sporadic entertainment in the simpler scare tactics, but those seeking deeper storytelling or character development will likely be disappointed. It is a film of missed opportunities, hinting at intriguing possibilities without delivering them.

With clearer direction, deeper character arcs, and a fully developed narrative, DON’T TURN OUT THE LIGHTS might have achieved something memorable. Instead, it remains an uneven experience—a horror movie with a compelling premise but too many gaps and inconsistencies to recommend beyond a casual viewing.

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[photo courtesy of 101 FILMS]

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