Push

I, for one, love a good home invasion movie. But after watching David Charbonier and Justin Powell’s new film Push, it made me wonder—if it happens during an open house, is that an open invitation? Of course, the answer is no. It’s only an invitation to come look at the beautiful home being listed.
That didn’t lessen my excitement for this movie, though. Even if my bad jokes fall flat, the tension in Push certainly doesn’t.

Natalie (Alicia Sanz) is trying to put her life back together after the death of her husband. She’s moved back home and is due any day now with a baby she’s been eagerly awaiting. Until then, she still works as a realtor, determined to prove her boss wrong by selling a house no one seems to want. That appears to be the case, as the day goes by without a single visitor—until Natalie is about to close up.

That’s when she meets a client (Raúl Castillo), a man of very few words. She walks him through the home, pointing out all of its best features. Though the Client doesn’t say much, his behavior soon suggests he’s there for something other than real estate. Things start to unravel when Natalie tries to leave, only to find her car won’t start. When the mechanic who arrives to fix it disappears—only to later turn up dead inside the house—Natalie realizes she’s in serious trouble. She retreats into the house, which the Client claims to know “every inch of,” and tries to figure out how to survive the night—for herself and her unborn baby.

Much like Charbonier and Powell’s other offerings (The Boy Behind the Door and The Djinn), Push is a visceral, suspenseful story that’s unrelenting and refreshingly simple. The filmmakers have a knack for single-location thrillers, and this tension-filled, efficient narrative continues that trend. The story starts off quietly, as we tour a home that soon becomes a maze. But the suspense builds steadily, leading to an ending that would make any final girl smile.

Push is also an effective cat-and-mouse thriller, directed by Powell and Charbonier with precision. They play with audience anticipation, making the few jump scares count all the more.

Ultimately, Push is a well-crafted thriller that succeeds thanks to its tension and excellent pacing. The setting is an inspired choice—and once you learn some of the horror that happened inside that house, it’s easy to see why it’s still on the market, even if it comes with its own little cemetery.

Sanz is great as Natalie. Even though we don’t learn much about her—beyond her loss and pregnancy—that minimalism fits the stripped-down tone of the movie. Castillo, in a role that’s quite different for him, is menacing as the Client and delivers a chilling performance with minimal dialogue.

Not every idea hits its mark, but even with a few missteps, Push remains engaging and keeps the suspense alive. It’s another strong entry from Charbonier and Powell, in what seems to be their mission to make us all very afraid of the places we live.