I just walked out of 'undertone' feeling genuinely unsettled, which is exactly what I want from a horror movie. My ears are still ringing a bit from those audio jumpscares, and I keep glancing at my phone like it's going to start playing something creepy. Honestly, I wasn't expecting much from a 6/10 rating, but it got under my skin in a good way. I'm still thinking about that final recording and what it meant. The drive home was a little quieter than usual—I actually turned off my own podcast!
🎬 Watch the Official Trailer
What's undertone About?
The movie follows Maya, played by Nina Kiri, who hosts a successful paranormal podcast. Her life gets turned upside down when she starts receiving anonymous, terrifying audio recordings that seem to be connected to her own past. It's less about ghosts you see and more about the ones you hear, which creates a unique kind of dread as she tries to trace the source before it consumes her.
What Works in undertone
- ✓ Nina Kiri's performance was fantastic. She sold the slow-burn paranoia perfectly, especially in scenes where she's just listening to headphones, her face doing all the acting.
- ✓ The sound design was the real star. There's a sequence with a distorted nursery rhyme that made my skin crawl—it was so simple but effective.
- ✓ I loved the concept of horror through audio. It felt fresh in a genre crowded with visual specters.
- ✓ The runtime was tight at 94 minutes. It didn't overstay its welcome, which kept the tension from deflating.
What Doesn't Work
- ✗ The third act gets a bit convoluted. The mystery's explanation felt rushed and introduced one twist too many for my liking.
- ✗ Adam DiMarco's character, Maya's producer, felt underdeveloped. His motivations shifted in ways that didn't feel earned.
- ✗ Some of the podcast studio scenes dragged a little, breaking the atmospheric tension the film worked so hard to build.
Standout Moments & Performances
Two scenes are burned into my brain. First, the 'basement recording' scene. You don't see anything—just Maya's reaction as she listens in the dark. The fear on her face was so raw, I found myself holding my breath. Second, there's a brilliant moment at a crowded coffee shop where she hears one of the distorted voices whisper from the ambient noise. I actually looked around my own theater for a second! It perfectly captured the feeling that the horror was bleeding into her everyday world.
Main Cast: Nina Kiri, Adam DiMarco, Michèle Duquet, Keana Bastidas, Jeff Yung
Direction, Music & Visuals
Director Ian Tuason understands that what you imagine is scarier than what you see. The cinematography is claustrophobic, often framing Maya in tight shots, making us feel trapped with her. But the MVP is the sound department. The mix of diegetic podcast sounds, creepy audio tapes, and a minimalist, pulsing score by an uncredited composer (a missed opportunity for recognition) creates immense unease. Michèle Duquet is also quietly excellent as Maya's increasingly concerned mother. The performances feel grounded, which makes the supernatural elements hit harder.
Director: Ian Tuason
Who Should Watch undertone?
If you're a horror fan tired of loud, CGI monsters and enjoy psychological, slow-burn dread, this is for you. Podcast enthusiasts will get a kick out of the behind-the-scenes elements. It's perfect for people who loved the auditory horror of 'The Black Tape' or the paranoid atmosphere of early 'Ring' movies. Go with a friend who doesn't mind sitting in tense silence.
Who Might Want to Skip?
Skip this if you need constant action, clear-cut monster designs, or a perfectly tidy ending. If you're the type who checks your phone during quiet scenes, the atmospheric tension will be completely lost on you. It's a thinker's horror film.
Final Verdict
I'd definitely recommend 'undertone,' especially in a theater with great sound. It's a clever, moody horror film that succeeds more often than it stumbles. The central concept is strong, and the scares are earned through atmosphere and performance rather than cheap tricks. While the plot gets messy near the end, the journey there is genuinely creepy. I wouldn't watch it again tomorrow—I need a break from the heebie-jeebies—but I'm glad I saw it. It proves you don't need a big budget, just a good, unsettling idea.
