Movie Review: WE’RE NOT SAFE HERE

By ABBIE BERNSTEIN / Staff Writer

Posted: August 23rd, 2025 / 02:14 AM

Rating: PG-13
Stars: Sharmita Bhattacharya, Hayley McFarland, Caisey Cole, Margaret Wuerz, Arthur Higbee
Writer: Solomon Gray
Director: Solomon Gray
Distributor: Saban Films
Release Date: August 22, 2025 (theatrical, digital, VOD)

WE’RE NOT SAFE HERE begins with a wheezing tied-up figure in a chair, with a bloody pillowcase over their head. Someone approaches with a sharp object and utters a shocking line of dialogue.

Writer/director Solomon Gray gets our attention immediately with this opening and thereafter holds it steadily throughout. Scares are frequent; unease is constant.

We then meet schoolteachers Neeta (Sharmita Bhattacharya) and Sarah (Caisey Cole). Together, they wonder about what’s going on with their friend and colleague Rachel (Hayley McFarland). Rachel has taken a leave of absence, which in itself isn’t too strange, but she hasn’t been answering her phone either.

Before she can do too much sleuthing, Neeta receives a late-night call from Rachel, who desperately wants to come over and talk. Neeta of course invites Rachel in for a sit-down talk. And what a talk it is.

We know, although Neeta doesn’t, that Rachel has been having experiences – maybe hallucinations, maybe visions, maybe visitations – of elements of that first scene. When Rachel arrives at Neeta’s home, she embarks on narrating a horror story that gets creepier as she goes along.

Neela, a painter when she’s not teaching, currently has a creative block. Her work, much of it mysterious and disturbing, is on display throughout her home. We learn that she has been suffering from nightmares.

Is Rachel delusional and triggering Neela? Are they both delusional? Or is something supernatural at work here?

Gray and his skillful, versatile performers keep us guessing, though a definitive answer is provided throughout. Bhattacharya is compassionate, watchful and sorrowful, while McFarland goes from terrified to passive/aggressive to evidently normal and back.

There are only a few locations, but Gray wrings dread out of all of them. The artwork attributed to Neela adds to our apprehension. Between the minute but telling changes in the young women’s faces, the fluctuating camera perspectives and the unnerving décor, there’s nowhere safe to look.

By the end, we realize that WE’RE NOT SAFE HERE fits squarely into a specific horror subgenre. However, it takes an often-used concept and makes it the basis of a horror film that is economical financially and spatially while being highly dramatically effective.

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