Undertone – Film Review
Reviewed by Harris Dang on the 8th of April 2026
RialtoDistribution presents a film by Ian Tuason
Screenplay by Ian Tuason
Produced by Dan Slater and Cody Calahan
Starring Nina Kiri, Michele Duquet, and (the voice of) Adam DiMarco
Cinematography Graham Beasley
Edited by Sonny Atkins
Music by Shanika Lewis-Waddell
Rating: M
Running Time: 95 minutes
Release Date: the 9th of April 2026
Undertone tells the story of Evy (Nina Kiri), a podcaster who has moved back home to care for her comatose mother (Michele Duquet). After she puts her to sleep, Evy co-hosts a horror podcast called The Undertone with her best friend, Justin (the voice of Adam DiMarco). While working on a believer-sceptic dynamic, the two report on supernatural occurrences they discover themselves or are sent by their followers.
One day, they are sent an anonymous e-mail containing a series of letters and audio files, in which the supernatural story culminates through a married couple named Mike and Jessa. While Justin is adamant that the supernatural is real, Evy is dismissive. The deeper they enter the story, the more Evy’s scepticism subsides and her fear rises as strange occurrences start in her own home.
Undertone is the feature-length directorial debut from Ian Tuason, who is slated to direct the latest instalment in the horror found-footage film franchise, Paranormal Activity. Since Undertone premiered at Fantasia International Film Festival last year, it has garnered praise from critics and audiences for how its innovative soundscape conveys its creeping dread. Does it live up to the hype?
Tuason and cinematographer Graham Beasley make clever use of negative space to deliver tension as it relies on the subtle power of suggestion rather than assaultive visuals. With sharp sound design and well-timed and prolonged uses of silence, Tuason blurs the characters’ mindsets with horror, making space for moments that could certainly be psychologically potent and fittingly haunting.
Films featuring a minimal on-screen cast, a closed location, and a vocal ensemble can be accomplished with amazing results. Buried (2010) by Rodrigo Cortes and The Guilty (2018) by Gustav Moller are good examples. They featured a convincing, emotional through-line and characters worth caring about. With Undertone, Tuason lets the film down with a tawdry script, dull storytelling, and routine characterisations.
The actors do their very best to imbue life into their characters. Unfortunately, they cannot escape the script’s predictability. The ideas involving undignified filial trauma, impending motherhood, and faith vs. atheism are given the window-dressing treatment at best and the plot logistics become noticeably unbelievable. Can one really take live calls during an edited podcast?
What really lets the film down is the long, repetitive slabs of exposition. Hearing horrific tales of violence with the looming spectre of terror over you is one thing. It is another thing when you do not have any emotional investment or interesting characterisations. In the end, you are listening to a droning podcast while undergoing cattle prodding via jump scares to stay awake. Throw in a loud ending that cops out with its choice in ambiguity, and the film ends with a whimper.
Overall, Undertone is an underwhelming film that provides a sound premise and promises potential for innovative horror. Regrettably, the film falls on deaf ears due to its rote storytelling, uninteresting characters, and lost potential.
Summary: The film falls on deaf ears due to its rote storytelling, uninteresting characters, and lost potential.
2.5
Poor
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