The Drowned (AKA The Waterhouse) (2025) Review
Sunrise Films and Vertigo Releasing are excited to announce their upcoming multi-territory release of Samuel Clemens’ debut feature THE DROWNED, starring Alan Calton (MISSION IMPOSSIBLE: THE FINAL RECKONING), Lara Lemon (WAR OF THE WORLDS: THE ATTACK) and Lily Catalifo (INDIANA JONES AND THE DIAL OF DESTINY), alongside Dominic Vulliamy (BBC One’s RULES OF THE GAME), Corrinne Wicks, Michelangelo Fortuzzi, and Sandrine Salyères.
Woven with references to Greek mythology, THE DROWNED follows three thieves who have just stolen a priceless painting and arrive at a secluded safe house by the sea, only to discover their fourth accomplice is missing. They must question whether one of them was responsible for her disappearance, or if the blame lies with a more sinister presence lurking in the deep water below.
THE DROWNED, written and directed by Samuel Clemens (son of screenwriter Brian Clemens), is a chamber piece, aside from the occasional brief venture outdoors, and it could have just as easily worked as a play. Leaning more towards arthouse than mainstream those anticipating formulaic scares will feel shortchanged, however the film’s final half-hour is worth the steady build as the sea creatures (unseen) unleash their fury upon the thieves.
Was it meant to be obvious to the viewer as to who the three female guests really are, based purely on their cool stance and questioning of the men? I was not sure, nonetheless the girl’s ‘two truths and a lie’ gameplay helps crank up the tension in a ‘cat and mouse’ fashion before hell is unleashed with the film’s last moments. Refreshingly Clemens’ film allows the viewer to connect the pieces – offered up as visual clues and telling remarks in the dialogue – rather than with overdone explanations.
Alan Calton simmers and bristles as THE DROWNED’s lead character Eric and he is ably backed by a very solid cast. The film’s sound design is up to the task of providing the scares required as the sirens unleash their vocal fury upon the thieves and the camerawork is top drawer effectively making one very remote location feel more expansive than it is.