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‘See for Me’ appears to have been created to answer the question, “What would you get if you crossed the Audrey Hepburn classic “Wait Until Dark” with a video game in the vein of “Call of Duty”?” The concept itself is certainly intriguing, and it will almost certainly draw viewers to Randall Okita’s film who are interested in seeing how it all plays out. Rather than an engaging concept, what they’ll get is a film that never quite manages to live up to its potential, thanks largely in part to a couple of key creative decisions that undermine any chance of genuine emotional engagement and reduce it to little more than an exercise in moderately inventive style.
Sophie (Skyler Davenport) is a downhill skier whose once-promising career was shattered when she became legally blind after a car accident. Instead of listening to her mother’s well-intentioned suggestions about returning to the slopes, Sophie decides to take a series of jobs housesitting mansions, which will allow her to snoop around for a couple of expensive and easily overlooked items that she can sell for some quick cash. To begin with, she’s heading up to the inevitably remote mansion belonging to Debra (Laura Vandervoort) for a couple of days to cat-sit in exchange for a bottle of wine worth several thousand dollars, which she hopes to get her hands on. She hasn’t even gotten out of the car when she accidentally locks herself outside. She ends up using See for Me, an app that connects her with volunteers who will guide her around using the camera on her phone. Sophie’s aide is Kelly (Jessica Parker Kennedy), a former soldier who has transitioned into a full-time gamer. She uses her abilities in both areas to get Sophie back inside as quickly as possible.
In the middle of the night, three men—Otis (George Tchortov), Dave (Joe Pingue), and Ernie (Pascal Langdale)—break into what they believe to be an unoccupied house in order to bust open a hidden safe and liberate the contents of the safe on the orders of a fourth man (Kim Coates) speaking on the phone. Following their discovery of one another, a game of cat-and-mouse ensues throughout the mostly darkened mansion as Kelly attempts to get Sophie out of harm’s way while Sophie herself considers joining the thieves in exchange for a cut of the action.
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The initial concept for “See for Me” is undeniably compelling; it’s the kind of outrageous concept that someone like the late, great Larry Cohen might have turned into a nifty exercise in B-movie ingenuity if he’d had the opportunity. However, the screenplay by Adam Yorke and Tommy Gushue suffers from two major conceptual blunders—one of which may be unavoidable—that prevent it from living up to its potential. This presents an unavoidable problem because, while the concept of a home invasion thriller in which a blind person is guided through the use of an app sounds innovative, the execution falls short because it places Sophie on an equal footing with the thieves far too soon, significantly reducing the threat potential. The film might work in the hands of a more visually inventive director like Brian De Palma, who could have still milked the concept for maximum suspense, but Okita never quite manages to reach that next level of creativity. On the contrary, we are left to wait with bated breath for the presumably inevitable moment when Sophie’s phone dies and she will be forced to fend for herself without the benefit of her technological prowess.
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The other flaw in the film, to be honest, is Sophie herself, who is presented in such an unflattering light that most viewers will find it difficult to root for her or to believe in her ability to survive. I understand that the film is attempting to challenge the traditional trope of the sweet, helpless, and plucky blind young woman, who we as viewers are clearly meant to feel protective towards throughout the film. In the same way that the premise is intriguing up to a point, this is as well. The screenplay, on the other hand, goes way too far in the other direction, as Sophie’s moral ambiguity deteriorates to the point where it becomes nearly impossible to sympathize with her, especially when her self-serving behavior later has fatal consequences for another character.
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Despite the fact that Davenport is legally blind in real life and is by far the best and most interesting piece in “See for Me,” I should emphasize that this is not his fault. Davenport gives a performance that is frequently more powerful, more intelligent, and more compelling than the material itself deserves to be. Despite the fact that their work is ultimately insufficient to elevate “See for Me” above the level of a gimmick film that never quite pays off, Davenport almost makes it worth watching and will leave you wondering what they could have accomplished with stronger material.
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