Review: Welcome Home

The Nineties were a great time for erotic thrillers, both major and minor in quality. Think Basic Instinct, Unlawful Entry, Dream Lover, Love Crimes, Jade, and Sliver. Welcome Home, directed by George Ratliff and starring Aaron Paul and Emily Ratajkowski, shares much in common with all the aforementioned, to which it combines elements of Alfred Hitchcock's Psycho, Stanley Kubrick's Eyes Wide Shut, and about a dozen Skinemax films. By no means a great film, Welcome Home is a surprisingly solid, if derivative, throwback tot he genre that even pulls off some admittedly nifty twists.

When we first meet Paul and Ratajkowski's Bryan and Cassie, they appear to be an attractive young couple about to enjoy a romantic getaway at a rented renovated 13th century monastery surrounded by award-winning vineyards. Upon arrival, the property is even better than it looked on the website photos and the couple seem primed for a week of nothing but sunshine, wine and sex. Except Bryan and Cassie are not as happy as they seem. In fact, the holiday is meant to heal their relationship, which has been fractured by her recent infidelity. Bryan can't even bring himself to have sex with Cassie as he keeps imagining her with another man.

Into this already fragile situation enters Federico (Riccardo Scamarcio), the only neighbour for miles who comes upon an injured Cassie on the road. He drives her home, she invites him in for coffee, Bryan's jealousy is naturally stoked despite Cassie's insistence that Federico is only trying to be a friend to them both. There is cause for concern, however, as the couple don't realise that their rented home is equipped with cameras and that their every move is being watched by Federico. Things take a turn for both the predictable and unpredictable.

Though it often plays its cards too early and utilises a lot of false scares, Welcome Home nonetheless ratchets up a respectable level of psychological terror and suspense. Unsurprisingly, Scamarcio proves the most compelling actor by virtue of his effectively menacing Federico. Paul and Ratajkowski don't have as much room to play with as far as their characters are concerned - the latter, in particular, is called upon to do little more than appear in various stages of undress - but they both give convincing performances that offset some of their characters' stupid behaviour.

The film really comes into its own during its last third, specifically from the dinner scene onwards when Federico's insinuating comments amplify Bryan's insecurities and the former's true intentions finally come to the fore. Add to that a genuinely unexpected development that ends the film on a creepily unsettling note, and Welcome Home proves itself a satisfying watch.

Welcome Home

Directed by: George Ratliff

Written by: David Levinson

Starring: Aaron Paul, Emily Ratajkowski, Riccardo Scamarcio, Francesco Acquaroli