The movie feels like the result of creators prioritizing visuals and ideas over crafting a compelling narrative. Armie Hammer portrays Will, a bartender in New Orleans who witnesses a bar fight involving some college students. These students inadvertently leave behind a phone filled with unsettling pictures. Simultaneously, his girlfriend Carrie, played by Dakota Johnson, is immersed in studying occult Gnosticism, which appears to be connected to the students’ activities. If you're anticipating resolution or closure, you will likely feel let down. The film essentially strings together events and abruptly ends with the credits. There were moments when it seemed like something significant was building, a sense that connections between different elements—like Carrie’s professor, Steve—should have been more thoroughly explored. It seems as though this may have been cut during editing or simply remained an unrealized concept. I'm unable to confirm if these details are present in the source material, “The Visible Filth.” As it stands, this isn’t a successful film. The performances fluctuate between excessive drama and complete detachment. Brad William Henke’s performance is so exaggerated that he makes Jeremy Irons appear subdued by comparison during his role in "Dungeons & Dragons." Dakota Johnson seems to be going through the motions. Armie Hammer appears to be trying too hard to portray an ordinary person. Zazie Beetz delivers a believable and nuanced portrayal, but her character feels unnecessary to the plot; she could have been removed without impacting the story at all. The most disappointing aspect is how frustrating it is. The core idea has merit—I would have appreciated a more developed film with greater coherence and a satisfying conclusion. Instead, that potential remains unfulfilled. While I find the concept of incorporating occult Gnosticism into a movie intriguing, its execution leaves much to be desired. Ultimately, my feelings were less about fear or discomfort and more about disappointment in failing to capitalize on what could have been a truly remarkable film. It’s problematic when you’re essentially doing the filmmakers' job for them.

Source on TMDB