Metacritic reviews

Writer-director Jeremy Lovering, in his feature debut, keeps a skilful handle on technique — his film is a calling card that could give you paper cuts.

Lovering’s taut direction and editor Jon Amos’s skilfully modulated cutting wring the maximum suspense from cinematographer David Katznelson’s multi-camera set-ups, tapping into deep-rooted psychological and primal fears.

A taut, chilling little horror-thriller making maximum use of minimal resources to tap into our primal fears of the unknown.

A compact, effective thriller set in way-rural Ireland, Jeremy Lovering's In Fear makes the most of three actors, a car and a network of narrow roads winding through the woods.

It may be contrived and nothing new plot-wise, but In Fear has atmosphere and enough proper scares to deliver on the promise of its title.

Lovering coolly sticks to a rule often disregarded by horror movies looking for an instant scare: the weird, tense build-up is just as disturbing as the reveal.

Jeremy Lovering’s tense debut might have worked better had it left more to the imagination. Still, crisp camerawork and amplified sound yield paranoia aplenty.

In Fear traffics in suspicion, ratcheting tension, and shocks — including a few really effective ones — more than in satisfying explanations.

In Fear takes place almost entirely inside a moving car, severely limiting both the cast’s isolation (a big factor in Blair Witch’s strategy) and the extent to which they could wander off in an unexpected direction. Instead, the film simply goes in circles.

All the pieces are in place for a gripping indie horror flick, but this pointless, motivation-free film just goes around in circles.