![]() And despite it all, Good plays her as earnestly as anyone ever could. Honestly, if it wasn’t for her mythical naivete, the plot would have nowhere to go, but holy hell if her decisions aren’t the thing of pure fantasy. She is oblivious to creepiness of any sort and trusts Charlie implicitly – even when he invades her personal space, shows up at her home unannounced, and regularly looks at her like a kindergarten psychopath left alone with the class gerbil. Good’s Annie Russell is a woman who has never existed in the history of time: she navigates the world without a single hint that men are capable of terrible things. The script itself is as paint-by-numbers as you would expect, but it is the characters that turn this film into the so-bad-it’s-amazing classic it deserves to become. ![]() But this time around, it’s so much more than that. Only Charlie… doesn’t seem to want to move out.īy all rights, this should just be the typical ‘couple is haunted by creepy person’ narrative that screenwriter David Loughery ( Obsessed, Lakeview Terrace) has been subsisting on for the past decade. Instead of immediately god damn leaving and despite the couple’s selective tunnel vision, Annie falls in love with the home, Charlie offers a deal on the place, and the happy couple moves in. When they go to view the home, the meet the owner Charlie ( Dennis Quaid), who introduces himself by shooting a deer about three feet in front of the couple (as you do). In the middle of Napa Valley, they find what seems to be the ideal place, a country estate called Foxglove. Annie ( Meagan Good) and Scott ( Michael Ealy) are just your typical happy upper-middle-class couple on the search for their new home.
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