Sharp Corner (Buxton, 2024) - GFF

If you were aware of an obstacle that is constantly dangerous for those who are unaware about it, would you inform the proper authorities? Or would you use it as a form of entertainment and obsession? A mix between a psychological thriller and dark comedy, writer director Jason Buxton adapts Sharp Corner from a short story. In that he creates this character who becomes so obsessed with accidents that he loses focus on anything and everything else. 

The film follows a family of three – Josh McCall (Ben Foster), Rachel McCall (Cobie Smulders) and their son Max (William Kosovic) – as they move into the suburbs on a secluded corner. Previously considered a family man with a secured job, Josh’s life changes when he witnesses the first car accident on the sharp corner in front of his house. After this first crash, he becomes obsessed with the idea of being the one to save the lives of these victims. This obsession, however, could cost him everything. 

As soon as the first car drives past the McCall’s new home, you’re sitting on the edge of your seat wondering if this is going to be the next car accident. Just as Buxton intended. In fact, without this tension, there would not have been much else there. Sharp Corner’s protagonist escalates into such an unlikeable man that there is this intense need for the nervous system to be on high alert. 

A bit slow leading up to the climax where Josh’s true, or new colours are shown. Both Foster and Smulders deliver the performances required for their roles. At first a calm loving family man, audiences witness Josh’s breakdown and unravelling. As Foster embodies his character, even the vocal range changes and it is apparent that Josh does not realize how wrong and twisted he has become. While at first it seems like he feels sorry for the victims, it is slowly revealed that he has gained the thrill of digging into their lives and attending their funerals. The steps he will take just to continue to boost his own ego and satisfaction are beyond comprehension. 

It is evident the film follows more of a character study than a focus on other elements. Camera shots are sharp and concise, showing exactly what the audience should see when they need to see it. Foster’s delivery of this uncomfortable character holds the film. Though you may want to empathize with Josh, by the end of the film you’re left in disarray.