Movie review
April 16, 2026 · 108 min · R
Woke Score
Lower is better
Breakdown
These are the editorial factors and ratings behind our score for Obsession.
Woke representation / casting
Lead casting pairs a white male protagonist with a Mexican-American actress as his childhood crush and coworker in a story-logical setup; no marketing emphasis on identity, quotas, or diversity signaling.
Woke political dialogue
Almost none; relationship tensions and consent violations emerge through horrific consequences and character actions rather than lectures or activist lines.
Identity-driven story themes
Central premise explores male entitlement, “nice guy” resentment, and the terror of removing a woman’s free will, reflecting 2020s internet gender dynamics; delivered as visceral horror rather than preachy representation or systemic critique.
Western institutional / cultural critique
Mild commentary on toxic modern male behavior and online-fueled relationship expectations; avoids broad attacks on Western institutions, patriarchy as a system, or traditional norms.
Review
Obsession is a 2026 supernatural horror film written, directed, and edited by Curry Barker. A timid young man breaks a novelty “One Wish Willow” to make his longtime crush love him more than anything, only for the granted wish to unleash grotesque violence, possession, and cosmic punishment as reality twists against his selfish desire. The story centers on male entitlement and the horror of stripping a woman’s agency in a relationship, framed as a modern morality tale with gory practical effects and psychological dread drawn from online “nice guy” resentment.
Woke character or canon changes
Not relevant. Original story with no legacy characters, source material, or historical figures altered for ideological reasons.
Anti-woke backlash and complaints
No documented right-leaning or anti-woke complaints treating the film as pushing DEI, identity politics, or left-wing propaganda; reception remains positive and genre-focused.
Creator track record context
Curry Barker and the producing team show no pattern of activist, identity-driven, or social-justice work; backgrounds are comedy-to-horror and commercial genre production centered on scares and psychology.
Production
