Like how we shouldn’t judge books by their covers, movies shouldn’t be passed up because of their loglines. That’s the best way to approach Caleb Phillips’ Imposters, which is the kind of the movie that’s hard to talk about without giving away its secrets. But, what might sound like another changeling or mere domestic disturbia story is something else entirely. Not often does a new parental horror movie keep you guessing until the very end.
Horror darling Jessica Rothe is back in the genre in which she obviously feels the most at home. If not that, then at least free to let loose. Imposters becomes a magnificent vehicle for her talents as she plays a new mother whose worst fear comes true. Rothe and co-lead, Charlie Barnett, are pitch-perfectly cast as two people going through the motions of parenthood and white-picket-fence dreams. Funnily enough, Phillips’ tendency to play things with no veil fades as the movie drifts into more extraordinary territory. Once the setup is delivered and acted on, the blatancy from the outset is gradually removed.
Parents losing their baby and fearing they’ll never see him or her again is nothing new, yet Phillips manages to put a fresh new coat of paint on a rather tired concept. What helps is the set of cracks the filmmaker planted early on; these small but perceptible fractures in the superficially pleasant life of these characters pave the way for something darker. How dark it gets, though, can’t be anticipated.
So, after the protagonists’ baby boy mysteriously vanishes during a house party, we as the audience sit through what looks to be a Gone Girl kind of situation playing out. Things are not what they seem, right? There is no way this can be otherworldly. But, then there are these elements, such as earthquakes in a place where there should be no earthquakes, that keep the up the pretense of paranormality. Yet once again, that’s not quite what Imposters is doing here.
It’s not long after the abduction does the puzzle start to get filled in, although frankly, a fuller picture here won’t answer your every question. And nor should it. Phillips’ restraint with keeping the mystery somewhat mysterious, even after making one revelation after another, is commendable. Not exploring the origins of their bizarre dilemma, and just simply trying to survive it, proves fruitful for us watching. You’re invested in the now and can’t be bothered to worry about the future. This also better aligns you with the characters.
Additional kudos goes to a filmmaker who really knew how to stick a landing. And that surprising conclusion neither comes out of nowhere, nor does it feel undeserved. No, Phillips planted the seeds for that cogent ending ahead of time without also being obvious about it.
Imposters is polished-looking for a movie with a relatively small budget. That commercial veneer is perhaps why it comes across as more generic than it really is, but again, looks are deceiving. Your underestimation, plus the riveting performances, ultimately works in this movie’s favor.
Imposters premiered at South by Southwest 2026.
Tales from the Paulside 
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