The film follows a former skier named Sophie (Skyler Davenport in her first leading role), who gave up the sport because she is now legally blind, with only light perception left. To make money, she cat sits for strangers. She finds a job cat sitting at a secluded mansion. Once there, she FaceTime’s a friend and, through her phone, he shows Sophie and the audience around the house.
See For Me app
The house is as much of a character as Sophie because how integral it is to the action. The way the home is shown is flawless. We’re able to take note of some aspects that will most definitely be a part of the story later (think the spacious greenhouse). After this, Sophie learns of a phone app, the titular See For Me. It helps visually impaired users pair with people who can be their eyes around a home. Sophie is paired with former army veteran Kelly (Jessica Parker Kennedy).
This is lucky for her. Later in the night, a trio of thieves arrive to rob what’s inside the home’s hidden safe. To survive, Sophie must rely on her own instincts, but also Kelly’s guidance as she tries to help Sophie out of this situation. That app is where the high-concept comes in. I love any film that can help breathe air into a genre. In visuals, the variety of ways we see the action is great, with cinematography by Jordan Oram and Jackson Parrell.
Skyler Davenport as Sophie
Davenport, who is also visually impaired in real-life, is so memorable as Sophie, playing the anxiety and emotion so well. Davenport has a lot of range in the role. Scenes addressing Sophie’s blindness are well-written. There’s one instance where a taxi driver offers to help her find the door like she doesn’t do this everyday. From Davenport’s personal experience, one would imagine Skyler may have had a hand in consulting with this aspect because of the authenticity.
The film makes an attempt at immersing the audience in Sophie’s experience. At one point we’re immersed in darkness throughout the house. At another, we hear footsteps heightened in sound design. “See For Me” never completely immerses in that experience, merely teasing it. However, it comes close and the attempt is evident.
The writing
It’s also a film where I just want to study the screenplay. There are some ways that it completely subverts expectations in the character of Sophie, and that’s something I wouldn’t dare spoil but it adds an extra layer to the film. As well, I come to these home invasion thrillers for the concept and when you can fully root for the main character, it only enhances the experience.
This comes from writers Adam Yorke and Tommy Gushue’s deep understanding of their main character. The way they lay out her motivations and inspirations, finding layers but never convoluting her motivation, impresses.
Laying the groundwork
They merely lay the groundwork for her character in the first 20 minutes. This is the case with the house, too. Some may find this predictable as aspects come back into play later. However, I think it’s brilliant foreshadowing. Laying this groundwork is exactly what screenwriters should do with a film like this. It keeps things somewhat straightforward, while also introducing fascinating concepts like the See For Me app, or just completely unpredictable developments.
It’s such a well-structured script, too. It keeps the pacing fast and nearly perfect, and the world that the writers create is completely convincing. The dynamic between Sophie and Kelly communicating through the phone is so great. It feels like they’re acting together in the same room and It’s well-directed. This dynamic gives this genre a fresh spin, as well. This aspect could have been executed so poorly In the wrong hands. I’m happy to report that no one drops the ball in “See For Me.” Every aspect is so well-done. It’s a good old-fashioned thriller that I can’t wait to watch again.
‘See For Me’ had its Online Premiere as part of Tribeca Online Premieres at the Tribeca Film Festival on June 10. You can check out my interview with Skyler Davenport and Randall Okita right here.
