Those who know me know that I often take great pause when it comes to appreciating current horror films or even films made today in any genre because of my overwhelming tendency to be quick to nag on a film's familiarity in theme or the or that it is predictable with contrivances etc. Was I surprised to discover "Unsubscribe"! Director Christian Nilsson and co-producer/star Eric Tabach have concocted a 28 minute short that offers some original twists, a fresh perception on the lure of internet fame, and a subtle tribute to Hitchcock and "Rear Window" all wrapped with a blood red bow for fans. Tabach stars as Eric, one of a group of friends invited to participate in a zoom video conference birthday call for a friend named Zach. What is revealed during the call is that who arranged it is actually a true stranger to the friends and that they are being targeted for murder. The entire cast of relative unknowns (fans of Charlie Tahan, who plays Whitey, will recall him as the child Ethan in Will Smith's 2007 blockbuster "I am Legend") is first rate, never overplaying to type but rather playing to just what the moments call for (including a bit of aloof distance underplaying that was refreshing). Tabach brings a fond remembrance of James Stewart as he plays the disabled Eric, first to suspect that what he is witnessing during the Zoom call is actually real and not a stunt. The deaths he and the others see are actually happening. Michelle Khare is similarly a revelation as Michelle, the popular youtuber amongst the gang, who's own obsession with follower numbers and fame is examined in something of a decidedly frank, full frontal manner. Nilsson eschews gore in favor of minimalist style (almost a natural conceit when your budget is estimated at $1 but there is still skill in making what little you do have work so it bears noting anyway). As this was done during the current COVID crisis, some of the camera shooting was simply the actors on web cam in their own home and on their pc (though some footage was done by Nilsson in his home), much of the minimalism springs from the very tight editing done by the director himself (3 weeks in the editing process I read, with only one day shooting) and the feeling the finished product shown seems to have very little being wasted as far as needless scenes of exposition etc. All in all a most impressive effort from Nilsson, Tabach, Khare and company and I look forward to their next efforts.
