'Undertone' review: Haunting frequencies save an underwhelming plot

Courtesy of A24

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A slow-burn feature debut from writer-director Ian Tuason, “Undertone” earns some style points for its commitment to a less is more approach. Instead of relying on visual trickery or jump scares, the film banks on pulsing audio frequencies to create its tension, giving the story a simmering, uneasy vibe. That subtle edge gives Tuason room to experiment with form, but the film leans so heavily on buildup that its five-to-seven-minute payoff—spooky as it is—struggles to justify the 80-minute wait.

Still, credit where it’s due: in an era when horror filmmakers cram every frame with as much paranormal noise as possible, Tuason’s stripped‑down restraint is refreshing. The movie’s biggest weapon is the way it distorts sound and blurs imagery, messing with your senses until you’re not entirely sure whether you’re witnessing something or imagining it. Those moments are engaging—for a while. But eventually a movie needs a story sturdy enough to support its stylistic ambitions, and on that front, “Undertone” is disappointingly thin. Derivative, even. Not that modern horror has made escaping formula very easy.

At the center is Evy Babic (Nina Kiri), whose one refuge from caring for her comatose, dying mother is her weekly podcast. She records from her cramped house, trading theories and debates with her co-host Justin (Adam DiMarco—heard, never seen) about whatever creepy, supernatural oddity is trending online that week. Evy plays the skeptic; Justin plays the true believer.

For this episode, Justin has received an anonymous email containing ten audio recordings, all captured by a couple—Jess and Mike—conducting some sort of overnight experiment. Mike claims Jess talks in her sleep, and she dismisses it. But as the recordings progress, she not only talks—she sings nursery rhymes like “London Bridge is Falling Down” and “Rockabye Baby.” Nothing unsettling about that, right?

“Undertone” isn’t the first horror film to make sound its primary scare tactic, but it uses the found-footage vibe in a way that’s clever enough to feel distinctive. It’s basically “Paranormal Activity” for your ears, letting suggestion and imagination fill in the blanks. That’s an intriguing hook, until the movie can’t stop repeating it. There are only so many times you can hear “did you hear that?” before you start wishing the movie had something more on its mind.

Tuason tries to layer in additional emotional stakes, Evy is pregnant and unsure whether she wants to keep the baby, but the parallels between her situation and the central mystery are so obvious they never evolve into anything meaningful. The story eventually detours, predictably, into occult and demonic territory, connecting all the small eerie breadcrumbs scattered throughout the film. The sound design, to its credit, is crisp and immersive and will absolutely thrive in a theater with a serious audio setup. And Kiri, tasked with carrying almost the entire film, is solid—her screams alone may justify the runtime.

The finale does deliver, and there’s enough craft in Tuason’s technique to make me recommend at least one viewing. But it’s hard to imagine “Undertone” being something audiences will be eager to experience again. Once you’ve heard it, that’ll be enough. 

Grade: B-

UNDERTONE is now playing in theaters.