After being attacked in a parking garage, Ellen (Madelaine Petsch) wakes up without her sight. The nurse at her bedside tells her the damage to her eyes is irreversible. Unable to see, she is now dependent on her caretaker Clayton (Alexander Koch), whose main job is to help Ellen adjust to her new reality. Clayton spends a fair amount of time with Ellen at her apartment, and when he is not around, Ellen is occasionally visited by the detective investigating her attack as well as her two next-door neighbours, one who is abused and one who is the abuser.
But even without her sight, Ellen sees that something about this situation is….off. She can’t figure out what exactly is wrong but as she pulls at loose threads, her whole world starts unravelling.
Writer/director Cooper Karl establishes early on that the viewer’s eyes cannot be trusted, and it’s a recurring theme on which Sightless’ twists rely. While that approach likely was intended to match Ellen’s experience of being Sightless, it left me feeling disconnected from the film since I kept being reminded that I couldn’t believe what I was seeing. That disconnect neuters every one of this film’s attempts to shock, surprise and thrill, since nothing on screen can be trusted.
With Sightless lacking any edge due to its structure, you’re better off seeing what else Netflix has on offer.
Well that’s a home goal by the Carter guy. Giving this a wide berth.
Cooper not Carter doh!
A pet peeve of mine is when a movie lies to an audience. It is such a lazy crutch.
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Sometimes an unreliable narrator really works, like Fight Club, but don’t tell the audience it’s an unreliable narrator! Not the smartest move.
It’s an interesting premise; it sounds like it just didn’t come together well.
Oh man, I do hate not being able to trust things in movies. Is it real? If I have to question everything, I can’t keep up with anything.
I watched this today. It could have been far, far better than it was.