The Fostered Review: Who Is the Monster in the House?

There’s a special place in cinema for the creepy kid. It’s a trope that has given us nightmares for decades, tapping into our primal fear of innocence corrupted. The Fostered immediately places itself within this tradition. The film opens after a shocking family catastrophe leaves twin sisters orphaned and adrift.

They are quickly placed into a new home on a quiet, isolated farm that seems more unsettling than serene. Their new guardians are a study in opposition: Amy is the kind, hopeful woman trying to build a family, while her husband, Kevin, is a bitter man who makes his resentment known from the start.

This setup creates the film’s central, chilling question: in a house filled with so much tension, who is the real threat? Is it the hostile man of the house, or is it the two quiet, watchful girls? The film positions itself as a slow-burning psychological piece, less interested in jump scares and more in the quiet dread of not knowing who to trust.

The Walls Are Closing In

Directors Gunnar Garrett and Ritchie Greer work hard to make the family home feel like a pressure cooker with no release valve. Their directorial approach favors a sense of suffocation; the emotional turmoil of the characters is mirrored by the world around them.

The cinematography uses dimly lit rooms and tight, constricting shots to make you feel as trapped as the characters are. There’s a fascinating contrast between the wide-open spaces of the farm and the claustrophobic interiors of the house. Outside is endless land, but inside, every corner feels tight and shadowed, suggesting there is no real escape.

The sound design amplifies this feeling, prioritizing loaded silences and small, sharp diegetic sounds—a creaking floorboard, a distant slam—over a bombastic score. This choice makes the audience lean in, becoming active participants in the suspense. In its style and pacing, the film reminds me of those late-80s network “Movie of the Week” thrillers, which were masters of building domestic dread on a modest budget.

The pacing is quite effective at first, building tension with a steady, deliberate rhythm that lets the unease creep under your skin. This momentum does seem to slacken a bit as the story moves forward. Visually, the film is a mixed bag.

There are moments of effective composition, but they are sometimes undercut by jarring editing choices that feel more distracting than artistic. It’s a common pitfall in lower-budget filmmaking, where the ambition to create a distinct visual style can sometimes get in the way of smooth storytelling.

The People Inside the Pressure Cooker

A film like this lives or dies by its performances, and luckily, the adults carry their weight. Brittany Underwood as Amy and Robert Palmer Watkins as Kevin give grounded portrayals that anchor the film’s high-strung drama. They present a believable portrait of a relationship already cracking under its own weight, a situation made worse by the arrival of the two girls.

You get the sense that Amy’s desire to care for these children stems from a deep well of her own unresolved grief, while Kevin’s anger feels rooted in a loss of control over his life and home. Their dynamic is the film’s most realistic and affecting element, even if Kevin’s immediate antagonism makes you question the logic of how this couple was ever approved for guardianship.

The twin sisters, played by Serena and Savina Perey, are undeniably effective in their eeriness. Cinema has a long history with unsettling twins, from The Shining onward, and this film leans into that trope. Their shared glances and quiet presence create the perfect ambiguity the film needs to function. Yet, their characters feel thinly drawn.

They function more as ciphers for the plot’s central mystery than as fully formed individuals. We see the world through their eyes, but we never truly get inside their heads. This leaves them feeling a little hollow, like tools for generating suspense rather than people experiencing a profound trauma.

A Story of Twists and Flaws

The core idea of the screenplay, a tense standoff between traumatized children and their unstable new parental figures, is strong. It taps into contemporary anxieties about family, trauma, and the fallibility of the systems meant to protect the vulnerable. The narrative cleverly plays with audience allegiance, constantly shifting our suspicions from one character to another.

One moment you are certain Kevin is the monster; the next, a deadpan look from one of the girls sends a chill down your spine. That said, the script sometimes asks you to suspend your disbelief a bit too much. Certain plot points and character decisions feel like they exist only to move the story toward its next tense set piece, rather than flowing from a believable reality.

These logical gaps can momentarily pull you out of the experience. The film saves its biggest narrative swing for last: a significant plot twist designed to re-frame everything you’ve just seen. For some viewers, this revelation will land as a clever and satisfying turn that invites a second viewing. For anyone seasoned in the thriller genre, its arrival might not be a total surprise, as the clues are there if you look for them.

The turn certainly gives you something to talk about after the credits roll, even if it creates a few new questions about events that came before it. What remains is a perfectly watchable genre piece. It’s an entertaining and thoughtfully constructed thriller that, despite some imperfections in its script and execution, provides a tense experience and shows a clear appreciation for the mechanics of suspense.

“The Fostered” is a psychological thriller film that explores themes of grief, trauma, and the complex nature of foster care. It was released on streaming platforms and on demand on June 24, 2025.

Full Credits

Directors: Gunnar Garrett, Ritchie Greer

Writers: Gunnar Garrett

Producers: Gunnar Garrett, Jodie Garrett, Brenda Neitzel, Lewis Neitzel

Cast: Robert Palmer Watkins, Brittany Underwood, Robert Adamson, Casey Webb, Savina Perey, Gunnar Garrett, Jodie Garrett, Serena Perey, Rinabeth Apostol, Bob Lee Dysinger

Director of Photography (Cinematographer): Truman Waller

Editors: Samuel Gill, Jeff Markgraf