Jennifer (Brenda Song) is frantic for escape: it’s dark, it’s raining, she’s clearly terrified. Dashing from a payphone to an abandoned building, she’s eventually hit by a car, unconscious at the side of the road, and we still don’t know what or who she’s running from. Her husband Russell (Mike Vogel) arrives at the hospital while she’s still in surgery, unable to explain why she was so far from home, at an abandoned service station with no car or ID. When she wakes up, her memory is compromised. She doesn’t remember the accident OR her husband.
Frank (Dennis Haysbert), the detective on the case, is having a rough week. It’s his daughter’s birthday, but she disappeared when she was 10 and he still beats himself up for not finding her as he weeps in a closet with years worth of wrapped gifts. His guilt and grief push him to work this case more obsessively than usual.
In the meantime, Jennifer’s been discharged, headed back to a life she doesn’t remember with a husband who’s a virtual stranger. They have a beautiful home, but it is remote, and we constantly get that little tickle at the back of our necks that indicates that some sort of danger may still be out there.
Amnesia is a great way to create tension because the protagonist’s experience is ultra unreliable. Jennifer must question everything, and anything she fails to question is of course something that we, the audience, must sweat. And we end up sweating all the small stuff! You can’t trust anything, which is a very tenterhooky way of watching a movie.
So yeah, we’ve got a lot invested in Detective Frank. I mean, not as much as Jennifer does. She’s fearing for her life and I’m just kind of stressed out watching a movie that I’m technically allowed to stop or pause or walk away from, and unlike Jennifer, I’m not hobbled from a mysterious accident.
For Jennifer, recovered memories are a blessing and a curse. While every bit of information remembered is helpful to understanding her situation, it’s often quite distressing stuff. I think I’d prefer the bliss of ignorance myself. So yeah, Secret Obsession is a pretty suspenseful movie. It is not remotely original and it doesn’t really try to hide any of its twists and turns – this movie doesn’t so much keep you guessing as make you a jumpy pack of nerves.
Writer-director Peter Sullivan is known for making Hallmark movies, and while this movie is a step above, it’s also perhaps a step below what might normally get released in theatres. Of course, this movie is a Netflix original, so the standards are a little different. Maybe it’s not great, but it’s new, and sometimes that’s enough.