Exploring Unseen Terrors

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MOVIE REVIEW
Womb
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Genre: Horror, Thriller
Year Released: 2025
Runtime: 1h 26m
Director(s): Bridget Smith
Writer(s): Michael Walsh
Cast: Myles Clohessy, Taylor Hanks, Ellen Adair, Abbey Hafer, Corrie Graham, Brian Anthony Wilson, Elizabeth Yu, Sophia Ladaran
Where To Watch: on Digital and On Demand starting February 11, 2025

RAVING REVIEW: WOMB isn’t just another horror-thriller looking to shock its audience—it digs deep into a terrifying reality that is often overlooked but is all too real. This isn’t just a story designed to scare; it’s a chilling exploration of the darkest corners of human obsession. Bridget Smith, who previously co-directed THE RETALIATORS, brings her stylistic intensity and unflinching approach to horror to this new project, proving that she can balance fear, tension, and storytelling. I was eager to see how she would handle a concept as disturbing as fetal abduction. Smith has a knack for blending real-world horror with intensity, and in many ways, this film feels like an evolution of the same raw energy that made her previous film so gripping.

The story follows Hailey (Taylor Hanks,) a 22-year-old pregnant woman who has been working hard to recover from addiction. Seeking peace and reconnection, she heads to a remote cabin to spend time with her future sister-in-law Martha (Ellen Adair.) However, what should have been a relaxing weekend turns into a waking nightmare when she becomes the target of a deeply disturbed individual fixated on her unborn child. The way the film gradually builds tension, making the audience feel trapped like Hailey, is one of its strongest qualities. There’s no immediate explosion of horror—a slow, creeping dread that lingers, tightening its grip with each passing scene.

Smith’s ability to craft atmosphere was already evident in THE RETALIATORS, where tension simmered under every frame, and she carries that same skill set into WOMB. The isolated setting of the cabin plays a crucial role in amplifying the film’s psychological intensity. The way the cinematography captures the vast, suffocating emptiness of the location makes Hailey’s situation feel even more dire. Isolation is a common theme in horror, but here, it isn’t just about physical loneliness—it’s about vulnerability, about being at the mercy of someone who sees you as little more than a means to an end.

A film like this hinges on its lead performance, and Hanks delivers. She makes Hailey a character who is not just a victim of circumstance but someone with resilience and depth. Her portrayal of the complexities of a woman fighting for survival while battling her demons makes every moment feel raw and authentic. As Raymond, her fiance, Myles Clohessy, provides solid supporting work and adds intrigue to the cast without overshadowing Hanks’ gripping performance.

What sets WOMB apart from other horror films tackling disturbing subject matter is its refusal to lean into cheap shock value. The horror here is grounded, making it even more unsettling. The script, penned by Michael Walsh, doesn’t just depict a horrific crime—it digs into its psychology. What makes someone commit an act as horrifying as fetal abduction? How does a person justify something so monstrous? The film doesn’t provide easy answers or attempt to sanitize its themes. Instead, it presents a horror made all the more terrifying by its authenticity.

Of course, no film is without its flaws. A more refined editing approach could have made the suspense feel even more suffocating. Additionally, while the main characters are well-developed, some supporting figures could have benefited from more exploration, particularly given the subject matter. Horror works best when every element—from performances to sound to cinematography—comes together to create an all-encompassing experience, and WOMB achieves that in several key moments.

Beyond its horror elements, the film also touches on broader social themes. It forces audiences to consider how certain crimes, especially those targeting women, often go unnoticed or are dismissed as anomalies. In reality, as Smith pointed out, cases of fetal abduction have occurred repeatedly over the years, often with horrifying results. By bringing attention to such a rarely discussed topic, WOMB is more than just a horror movie—it’s a conversation starter. And that’s something horror at its best has always been capable of doing.

WOMB is an effective and unnerving thriller that is genuinely thought-provoking. It’s not the type of horror film that relies on supernatural scares or excessive gore; its horror is rooted in reality, making it all the more disturbing. With strong performances, a chilling atmosphere, and a subject matter that stays with you, this film proves once again that horror doesn’t need to be fantasy to be terrifying. And that ending!!!

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[photo courtesy of UNCORK’D ENTERTAINMENT, PHILLY BORN FILMS]

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