How far would you go to save the person you love? That’s the question at the heart of Echo Valley, a new thriller debuting on AppleTV+ this month from director Michael Pearce (Encounter, Beast) and writer Brad Ingelsby (Mare of Easttown, The Way Back).

The film tells the story of Kate Garrett, played by Julianne Moore (Still Alice, Magnolia), who is scraping by after the untimely death of her wife. Her farm is falling apart, and she is barely able to afford the upkeep, with all of her money going towards supporting her drug-addicted daughter Claire, played by Sydney Sweeney (Euphoria, Immaculate). Kate’s ex-husband, played by Kyle McLaughlin (Twin Peaks, Blue Velvet) in a one-scene cameo, warns her that Claire is nothing but a leach bleeding her dry, but Kate believes her daughter can be redeemed. That faith is put to the test when, in the middle of the night, Claire returns home covered in blood after running away with her sleazy ex-boyfriend. She begs her mother for help, knowing that Kate would do anything to help her out—even if it means covering up a murder.

Soon afterward Jackie, Claire’s moustache-twirling drug dealer played by Domhnall Gleeson (Ex Machina, Star Wars: The Force Awakens), shows up at Kate’s doorstep to blackmail her. It’s at this point that the film somewhat unexpectedly shifts gears and becomes quite the entertaining thriller. The final act of the film may ultimately test the limits of credulity, but it is also wholly satisfying to watch the pieces slot into place, and to witness Kate’s ultimate redemption.

The film is directed by Michael Pearce, who imparts a visual flare to what would otherwise be a pretty straightforward story. There are haunting sequences and arresting imagery that manage to get under your skin, and a particularly effective sequence in which Jackie drugs Kate. The use of creative visual effects to contrast Kate’s physical state with that of her captor is striking. The underwater sequences, too, are this incredible combination of beautiful and horrifying that will stick in your brain long after the credits roll.

The film’s flare is also thanks to director of photography Benjamin Kračun, the cinematographer behind indie darling Promising Young Woman and last year’s breakout body-horror Oscar nominee The Substance. Simply put: the film looks fantastic. In an era where all streaming films look pretty flat and lifeless, it’s so nice to see an image that has some actual contrast. Kračun manages to elevate this pulpy fare, reminiscent of ’90s direct-to-video thrillers, into something that looks and feels like a film that deserves to be seen on a big screen. His use of light and dark perfectly encapsulates the true nature of the characters at the heart of the story; Kate being the light and Jackie being the dark. Kračun’s use of colour is also admirable; there’s some particularly notable uses of the colour red in the climactic finale that are a reminder of how a truly great cinematographer can elevate their imagery. Simply put: this is one of the best looking films I’ve seen this year.

Julianne Moore’s performance as matriarch Kate is another reason why the film works so well. She is able to capture the strength of motherhood so effortlessly, never tipping into sentimentality or schmaltz. Moore once again shows herself to be one of the best actors of her generation, creating a portrait of a woman who would risk it all to save their child, even as she continues to not only put her own life at risk, but endanger the lives of the people around her. Moore plays the part with nuance and subtlety, despite the rather over the top nature of the writing and characters. Tough, resilient, and smart—Moore is truly stunning to watch.

Domhnall Gleeson’s performance as Jackie is equally memorable. Gleeson portrays Jackie with a simmering sense of wickedness that is utterly bone chilling. Gleeson never chews the scenery, instead opting to create a villain that is terrifying while grounded, and maybe even a little bit charming, which ultimately makes him that much scarier. The aforementioned sequence in which he drugs Kate was absolutely stomach churning. His character’s heinous actions make the film’s conclusion that much more satisfying.

Unfortunately, Sydney Sweeney gets the short end of the stick here. Her character acts as the impetus for the entire plot, and yet she feels completely underwritten and underdeveloped. While Sweeney gives it her all—including a deeply upsetting sequence of domestic abuse towards her mother—it all feels a bit too forced. In her defence, it’s not easy playing opposite one of the best actors of the last two decades, but Moore’s skill only emphasizes Sweeney’s short comings.

Which highlights the film’s biggest problem: the script. Certainly, writer Brad Ingelsby has waded into similar waters before, and yet here he seems out of his depth. He can’t decide what kind of story he’s trying to tell. Is it a look into how drug abuse tears families apart? A story about a mother’s willingness to put their own life at risk for their child? A pulpy “good guy vs. bad guy” thriller? Each act feels like a completely different film. It’s difficult to unpack the issues with the story without spoiling too much of the plot, but needless to say the fact that there are so many twists ultimately does the film a disservice, even if the final twist is admittedly the most satisfying part.

A special mention must go out to Jed Kurzel’s score. Perhaps best known for his collaborations with his brother Justin—including the music for films like Snowtown and Macbeth (which was robbed of a best original score Oscar nom that year)—and his work for The Babadook and Alien: Covenant, he has crafted a sharp, moody score that perfectly compliments the film. While it remains subdued at first, it creates a perfect sense of underlying dread and tension, and when it announces itself you cannot help but take notice as it completely rattles your bones.

Echo Valley features fantastic performances, haunting visuals, and an escalating series of twists and turns leading to a thrilling (albeit preposterous) conclusion. There’s a lot to like here, but it is ultimately let down by a plot that tries to do too much.

Echo Valley starts streaming on AppleTV+ June 13, 2025.