Don't Leave Home (2018)

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Movie Info

After recently unveiling her new sculptural exhibit on Irish urban legends, artist Melanie Thomas is contacted by Father Alistair Burke, a reclusive Irish priest who, legend has it, once painted the portrait of a young girl who later disappeared on the very day her image vanished from the painting. Now, summoned by Burke and his cohort to the Irish countryside for a special art commission, Melanie eagerly accepts the offer, never stopping to consider that some urban legends might be true. Being praised as "GET OUT with Catholic guilt in the Irish countryside" (Indiewire), DON'T LEAVE HOME proves that not all mysteries should be solved.

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Critic Reviews for Don't Leave Home

All Critics (15) | Top Critics (5)

A mild-mannered Irish-set drama that never quite manages to be scary or exciting.

Sep 19, 2018 | Rating: 2/4 | Full Review…

Horror buffs can do a lot worse and thanks to the rise of video on demand, the title perfectly describes the ideal viewing experience.

Sep 14, 2018 | Full Review…

"Don't Leave Home" feels only half-baked. Mr. Tully's downbeat, dreamy approach to horror is a welcome one, but this time he leaves us with too many tight lips and loose ends.

Sep 13, 2018 | Full Review…

As wonderful as it is to see a filmmaker with more uncommon inspirations than some of his peers, it's equally disheartening when he falls short of them.

Mar 15, 2018 | Full Review…

While this twisty tale of an "evil miracle" connected to a self-exiled former priest ultimately withholds too much to resolve all of its enigmas, the atmospheric mood and persuasive performances keep you watching.

Mar 11, 2018 | Full Review…

...it remains a distinctly spooky pleasure on its own merit.

Oct 24, 2018 | Rating: B- | Full Review…

Audience Reviews for Don't Leave Home

Atrociously acted (the American accents of the unmistakably Irish protagonist and the art-dealer aren't remotely convincing,) poorly paced, incomprehensible, and boring. Some nice shots but the sound design is uniformly terrible, with overwrought 'Celtic' music drowning out entire lines of inaudible dialog. Some very poor light-balance. Filled with plot contrivances, this film is like an over-signposted road to nowhere; a dismal, sophomore, soporific effort that panders to an American tourist audience. Its mysteries amount to little more than vagueness, and ludicrous arthouse clichés like the 'rich buyers' in their powdered wigs feel like bargain-basement Pasolini. The theme of models and dioramas only emphasizes woeful comparisons to the wonderful 'Hereditary', and comparisons to 'Get Out' are insulting. The awful David McSavage appears as a ludicrous Riff-Raff/ Lurch-style factotum.

Charles Brennan
Charles Brennan

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