REVIEW: ‘Control Freak’ Loses The Reins On Its Narrative

Taking control over one’s life and narrative isn’t as simple as we want it to be. We can live our lives as perfectly as possible, and something will come to rip that illusion of safety apart. This is the dilemma Control Freak presents, using Kelly Marie Tran’s Val as the vehicle to demonstrate a life imploding under self-imposed pressures to escape her past.

It aims to peel back the layers of how generational trauma embeds itself into the body and soul, proving itself inescapable. Unfortunately, too many elements merge to create an overly busy yet underwhelming second half, weakening what could have otherwise been a strong outing for writer/director Shal Ngo.

The opening scene splices back and forth between how Val presents herself to the world and the underlying anxiety beneath. The pressure she places on herself is all too relevant. It is an endless attempt to escape from her negative inner voice, and it’s clear that she’s not willing to be vulnerable to let others in while she navigates the stress that’s building and building. Unfortunately, anyone who has been down a similar path knows that this method isn’t healthy or sustainable.

This scenario in Control Freak makes itself a perfect recipe for horror. The addition of the all-too-real generational trauma of the Vietnam War passed down to Val from her parents gives this recipe more depth and layers that, with more fine-tuning and a little finesse, could have resonated more powerfully by the film’s end. Unfortunately, the narrative spins off course as Val starts to spiral deeper into her malaise and battle for control with something far greater than herself. Bouncing from one point to the next, it loses its strength.

The strength Kelly Marie Tran channels helps Control Freak maintain some balance.

For her part, Kelly Marie Tran sells Val’s steely demeanor, driving it into the hilt. Val is relatable, with everything to lose now that she’s clawed her way to the top. This becomes most apparent when her father is introduced. The arrival of her father into the narrative opens up new avenues for Val’s exploration and more complications to the story’s plot. Still, it provides a perspective that allows Control Freak to dive deeper, offering a different side to the “negative inner voice” that Val experiences throughout the film.

Where Tran’s Val is stubborn and closed off, Miles Robbins’ Robbie is the softness and care that she always wanted. Compared to Val, however, Robbie is notably underdeveloped, making it difficult to gauge much. Instead, and this may say more about Val than not, Robbie reads as an accessory. With this, Ngo presents a couple that will prompt much discussion. If a relationship is built on secrets, how long can it actually last? If there is an uneven exchange or imbalance, can it actually survive when the going gets really tough?

There are some answers, but the waters left behind are muddy in the film’s final moments. There’s something to be said about resilience in the face of adversity that lands shakily. This lies in the wild tonal swings Control Freak takes in its final act, with what’s plaguing Val fully rising to the surface.

High in intensity, it features a highly rewarding physical performance from Tran that should pave the way for more horror offerings in the future. That said, some decisions are made in the name of control that also read a bit left field for the character, especially after how much she’s pushed away her parents’ influence.

Despite its emphasis on control, the narrative loses its grip toward the end.

The inclusion of the monster and the decisions made relaying the information call back to aughts horror movie staples. Mysterious ink paintings provide an image long before the practical monster appears onscreen, removing some of the surprise.

An internet search sequence follows, knocking another item off the checklist of horror movie tropes of that era. These decisions date Control Freak more than they should, but this introduction to this demonic being could have benefited more from not being seen at all on camera.

Given this entity’s malleable nature outside the film, there was arguably more wiggle room to play around with its appearance or lack thereof. Pulling back on its appearance and diving deeper into how it has impacted Val over the years could have made for a more impactful finale. In the end, some areas (like the creature and its influence over the years) remain underdeveloped because of various factors introduced into the story.

Despite its emphasis on control, Control Freak loses it by juggling different variables. Not all of them make it, with some story moments crashing onto the floor without further substance to back them up. With that, the potential for something great is there. There is a difference in perspective from Shal Ngo, particularly in the monsters we carry with us throughout time, that delivers a new kind of monster. This, coupled with Kelly Marie Tran and Miles Robbins’ performances, gives this film something to stand on.

Control Freak streams exclusively on Hulu on March 13, 2025.