Keeper Film Review: Tired Storytelling

Despite some immense moments of impressive horror, Keeper is a surprisingly generic entry in Osgood Perkins’ increasingly baffling filmography.

That isn’t to say Keeper is a misfire in the same way that the thematically similar Men (2022) was, but the film’s occasionally effective horror moments and stylish editing can’t paper over a screenplay that is both weak in construct and shaky in execution.

At the centre of Keeper is Liz (a superb Tatiana Maslany, Orphan Black). Much to the displeasure of her best friend, she heads for a long weekend at a secluded cabin with Malcolm (Rossif Sutherland, Possessor), her boyfriend of one year. The set-up, whilst rote, has potential; you can practically hear Perkins rubbing his hands together with excitement at the ripeness of Keeper’s setting. Sure enough, things start to go horribly wrong. There are the never-ending creaks and groans that echo through the house, and that’s before considering Malcolm’s despicable, creepy cousin who lives nearby in the woods. After Malcolm has to briefly head back to the city for work, Liz’s grip on sanity slips. 

Perkins showcases his strong ability to create a formidable and uneasy atmosphere. Liz is constantly captured in ways that obscure her, the sharp architecture of the house slicing her face or body in intriguing ways. Shots also linger on dark areas, causing you to feverishly search for what terrible entity is hiding on screen. Perkins doesn’t show as much aptitude for jump scares, which, whilst often effective, are overly telegraphed and unmemorable. In comparison to other horror hits of 2025 such as Weapons, the difference in this particular area is severe. 

It’s a shame, because there are a number of genuinely terrifying scenes. One particular part of the finale of Keeper is gripping and features some sensational imagery and creature design. Maslany also showcases her incredible talent during this scene, giving us an unhinged moment of cathartic release much like Florence Pugh in Midsommar (2019). However, too often Keeper feels oddly enough like Perkins’ debut feature, much less his sixth horror film. There is a lot of style on show, but the story is inept and there is a surprising lack of cohesion. It feels as if it’s made by a director still finding their footing as a filmmaker.

There is always a certain whackiness to Perkins’ handling of horror (not just Nicolas Cage as a serial killer), but at too many points in Keeper, this refreshing nature too often verges into immaturity, with hokey special effects causing some real head-scratching moments. But what truly detracts from the film’s strong elements is Keeper’s screenplay. Just before the aforementioned scene, and just in case the obvious opening of the film wasn’t clear enough, Lepard spells the film’s story and themes out via a didactic monologue. It’s enough to make you cover your face with your hands and groan in terror, but sadly not for the reasons Perkins intended. 

Keeper is now available to watch in U.S. theaters, in U.K. & Irish cinemas, and globally in theatres.