Sick (2022)

Sick feels like a slasher movie that actually lives in the real world—tight, timely, and nervy in the way it uses pandemic-era isolation to crank the tension without turning into a lecture. John Hyams directs with a clean, muscular sense of space and pursuit, making the lake house setting feel both inviting and instantly unsafe, while Gideon Adlon and Bethlehem Million sell the friendship at the center with the kind of natural chemistry that makes you care who makes it to the next scene. The vibe is lean and propulsive, full of sharp little contemporary touches and suspense beats that land because the film is smart about what you’re expecting and when to twist the knife. It is unapologetically brutal and intense—so if you’re not in the mood for a hard-R, edge-of-your-seat ride, steer clear—but if you want a modern, well-crafted thriller that moves like lightning, this one’s an easy recommendation.

Sick is trying to be a slick, fast-moving pandemic-era slasher: two friends isolating at a lake house while a masked threat closes in, with plenty of chase-and-stab momentum. John Hyams keeps the action clean and tense, and the leads are likable enough to root for, but the movie rarely surprises you—most beats land exactly where you expect, and the characters don’t get much depth beyond “people in danger.” The COVID backdrop feels more like a hook than something the story meaningfully explores, so if you’re hoping for a clever mystery or a fresh twist on the moment, this may feel a bit hollow. Worth it if you want a brisk, violent home-invasion slasher and don’t mind familiar formulas; skip it if you’re tired of predictable setups or find pandemic framing too on-the-nose.