Faye (Sarah French) is a recently-blinded actress with a killer secret admirer in the new thriller BLIND. The real twist here is that her stalker, Pretty Boy (Jed Rowen), is squatting in her abandoned basement. It is with this sole original idea and a questionable exploitation of  visual impairment that director Marcel Walz navigates a story that misses so many opportunities. There is good here, plenty of it. But screenwriter Joe Knetter is so hyper-focused on the diabolical hook of his story that we miss the chance to really get into the thrill, much less the misplaced romance of a deranged killer.

Let’s start with the good. Faye’s new blind bestie, Sophia (Caroline Williams) is a matter of fact chatterbox that steals every scene she is in and acts as a sort of mother hen to her young friend that just lost her sight. Knetter’s script goes to great lengths, admirably so, to show that anyone with an impairment can still live a wonderful, fulfilling life. Faye’s romantic interest Luke (Tyler Gallant) facilitates this notion by escorting the ladies on hikes, to support group meetings, and around town. There are the tired references to awareness and “seeing” a thing developing between Faye and Luke, but these are well-meaning.

Next there is Walz’s impeccable sense of visuals. As Faye lazes about her home, her admirer skulks around in an unused basement below. Wearing a porcelain-white mannequin mask he has created a sparkling den of romance, longing for his love. Strings of twinkling fuchsia lights, silver mylar, and balloons create a deceptively amorous environment.

With all of that said, we get far too many scenes of Faye, recovering from botched eye surgery, just sitting around her home mourning the loss of her vision. Instead of telling us how awful she feels, we would have benefited from learning the painful transitions she is going through. Show us don’t tell us. Then there is the dubious notion that a woman, however blind, would not sense another human in her home bumbling about in the basement or in more tense moments, mere inches from her, splattered in blood.

There was a fun idea here about what true sight is, true love, and beauty being in the eye of the beholder but these opportunities are passed up. While I am talking about opportunities, it would have been refreshing to see visually impaired actors portraying the characters at the center of the story instead of well-meaning portrayals equating that life experience. Still, for all the flaws, Walz’s visuals and Williams’ presence elevate an otherwise cringey movie about blind love.

4 out of 10