Peter Winther’s Aftermath initially seems either like Sinister (2021) or The Boy (2016) – or numerous other horror movies where a house is occupied by someone besides the actual inhabitants – because you don’t know if the weird occurrences often witnessed by Natalie Dadich (Ashley Greene) are supernatural or the more earthly variety.

What’s also interesting is that the house the couple is living in is wired with all sorts of modern electrical accoutrements, which also adds some interesting possibilities (none of which does the movie live up to).

Unfortunately, the problems start pretty early as well – it takes about 50 minutes before things start to get interesting, which is about a third of the movie – and eventually the really interesting uncertainty is resolved in a equally uninteresting way.

Which isn’t to say that Aftermath is a bad movie – it isn’t – mainly because Shawn Ashmore and Greene are pretty reliable though they’re not the problem, the writing is (the movie was written by Winther and Dakota Gorman) because the writers manage to take an interesting scenario and just about scuttle it by not providing logical reasons for things to be happening.

And that’s important because no matter how implausible a scenario is, it has to be laid out in a manner that makes sense, which isn’t the case with Aftermath (or the movie could perhaps be so gonzo, so over-the-top that you’re able to go with it despite it making no sense.