Tara is celebrating the last days of her wedding with her friends when she meets Patrick, a bartender who attracts her and spends a night with him. The relationship she does not have a particular value for him is proof of being loved. From that moment on she will begin to persecute her in an attempt to prevent her from marrying.
A filmmaker on the first feature film should not risk having to deal with a film-themed theme like an occasional relationship that turns to one of the two partners in an obsession that puts the other in jeopardy. Adrian Lyne had touched one of the tops with fatal Attraction but had a screenplay that Jim Agnew and Sean Keller failed to match but not even approach. Why Wes Bentely, who has films behind Terrence Malick and Christopher Nolan, knows how to give psychopathic effect to his Patrick, a really dangerous stalker, as Jaimie Alexander can translate in gestures and expressions the fears of a woman who does not want to reveal Committed a transgression near the wedding.
Everything works on average up to two thirds of the film when, suddenly, narrative inconsistencies overlap with what has been built so far. Neither the naive spectator can accept the idea that they do not control certain situations and do not take precautions that would be elementary even in a less dangerous environment. Everything seems to have to proceed for automatism thanks to the dabbenaggine of others and it is not enough to add a final shot to ensure the satisfaction of those who have now renounced the necessary suspension of unbelief.