The Calling (2025) review
Seen at Dances with Films 2025



The Calling walks a well-worn path in the horror-thriller genre. A brother and sister are left home alone. A stranger arrives. The night spirals into something dark and violent. This setup has been explored before, but what makes this film worth watching is how confidently it commits to its characters, tone, and atmosphere. There is nothing flashy here, and that is exactly why it works.

Directed by Mark Wilson and written by Chris Retts, the film never tries to outsmart the audience. It leans into its simplicity, focusing on emotional truth rather than cleverness. The twists exist, but they do not define the experience. What stays with you is the emotional texture and the strength of the performances. Lesser actors, and likely less assured direction, might have resorted to emotional telegraphy instead of nuance. Even as the situations become increasingly disturbing, the characters remain grounded. That commitment to realism is what makes the film resonate where others using the same setup might have fallen flat.

Danika Golombek is compelling as Virginia. Her performance captures the fragile line between control and collapse. She brings an immediacy to every scene, making Virginia feel like someone we know. She is not written as a superhero or a scream queen. She is just a young woman trying to hold it together in an impossible situation, and Golombek brings that to life with grace and grit.

Grayson Eddey anchors the film as Edward with one of the most quietly powerful child performances in recent memory. Nothing about his work feels staged or calculated. He reacts instead of performing, allowing fear and uncertainty to emerge in a way that feels deeply lived-in. His presence is so natural that the line between actor and character disappears. He stays fully immersed in every moment, creating an immediate and lasting connection. He is largely the centerpiece of the conflict, and his performance is the film’s foundation.

The score by Jacob Boyd also deserves special mention. It is not just supportive, it is essential. The music drives the emotional shifts, wrapping the story in a sense of urgency and sorrow. It hums with tension, elevating even the quieter moments and making the threat feel ever-present. The sound design overall is crisp and immersive, but it is Boyd’s score that gives the film much of its atmosphere.

Wilson’s direction is focused and restrained. He uses the space of the house to full effect, turning everyday corners into sources of anxiety. The smart and effective camera work by Thomas Rose stays close, often claustrophobic, never letting us forget the characters are trapped and exposed. There is no over-direction, no indulgent cinematography or editing. It is clean, efficient, and intimate.

While the story structure will feel familiar to horror fans, that is not a weakness here. It is a framework that allows the film’s strengths to shine. Not every film needs to reinvent the wheel. Sometimes, it is enough to roll it well. The Calling is a reminder that simple stories, when told with care, can still hit hard. With a standout performance from Grayson Eddey that feels absolutely real, a fierce and layered turn from Danika Golombek, and a score that brings every scene to life, this is a film that lingers long after the credits roll. It does not shout. It does not beg for your attention. It earns it quietly, and keeps it.