Ride the Snake (2025) - Movie Review

What if I told you a film made for $125,000 could look better than films made for millions?

That’s a major win, but is it any good?

Let’s discuss.

[Full disclosure: I was asked to review this film by the filmmakers and was offered a screening code. However, I paid out of pocket to rent the movie to give an objective opinion.]

Ride the Snake is a 2025 supernatural thriller brought to us by writer/director Shani G (Grewal). You probably won’t recognize the name, but that’s most likely because you don’t watch much of the BBC’s programming. Shani directed a few films in the 90s, but is more known for his prolific television work, directing episodes for shows like the infamous Brookside on Channel 4 (my favorite channel) and the highly regarded Casualty on BBC One.

This experience with tense dramas and the melodrama therein is palpable in this tense, unsettling mystery.

The film focuses on a woman named Harper at the worst moment of her life. A horrific car accident not only takes the life of her husband, but also her sight. The last thing she saw before the world went dark was the face of the other driver, a madman whose cackling laughter haunts her day and night. The other driver, from parts unknown, is declared mentally incompetent and sent to a mental hospital for a brief time. Resentful of the lack of justice, Harper hatched a plan. Resolute in her dark purpose, she pulls her daughter and stepson into a dangerous game with a madman and his twisted family. Will Harper get the justice she seeks, or will she be consumed by the darkness within? Find out in tonight’s feature, Ride the Snake.

When the filmmakers reached out, I didn’t have high expectations. When the pitch starts with, it was made for $125,000, I expected a ramshackle independent film with low production quality. Even my boys, Astron-6 have worked with budgets higher than that. However, I was pleasantly surprised.

This film looks like a big-budget BBC production.

This film is gorgeous on my 85” Samsung QLED TV on which I do my screenings. Films with poorer picture tend to get worse on this screen, but this film was smooth as silk. The film is dark, but done with such a deft hand that no detail is lost in the scenes. There are DC and Marvel productions that couldn’t even achieve this in recent productions. The colors are vibrant and play a role in the film, as the true story is hidden in the background of the scenes.

This is a slow-burn thriller in the vein of films like 2019’s Saint Maud and 1968’s Rosemary’s Baby. There seems to have been a misconception surrounding the film being a slasher. However, I can’t find anything in the marketing materials that would have given prospective viewers that idea. That doesn’t mean the film isn’t violent and unsettling, far from it.

This film is uncomfortable, unsettling, and at times brutally violent.

This wouldn’t have been possible without incredible performances from the cast. There isn’t a weak link in the players here. Every character is played with a depth and nuance one normally doesn’t see in low-budget productions. This cast is like an Avenger’s team of BBC talent.

It starts with Suzanna Hamilton as Harper. She is a prolific actress who has been active in film since 1979’s Tess and went on to play roles in legendary films like 1984’s 1984, 1985’s Out of Africa, and my personal favorite in her filmography, 1992’s Tale of a Vampire opposite Julian Sands (rest in glory sweet prince). This is on top of her longtime roles on hit BBC television programs like Silent Witness.

While Suzanna is the lead, her costars take center stage with spellbinding performances.

I fell in love with Miranda Nolan from the get-go. I knew her as an award-winning writer/director, and cousin to director Christopher Nolan. She has appeared in many of his films in small roles and cameos, but here she steals the show. Her unhinged performance is played like a Shakespearean jester, if you know-you know. It helps that she’s also naturally beautiful, and that voice! She plays her villainous role with a sensual empathy that somehow makes you forget the horrible attacks she’s performed. She’s just so damn likable and crazy.

Then again… I have a type.

The actor I was most excited for was the legendary Michael Maloney. If you don’t know his name, you would recognize his face and voice. He’s a classically trained Shakespearean actor who not only appeared in Kenneth Branagh’s brilliant modern retelling of Hamlet (1996) and the unintentionally comical Franco Zeffirelli production of Hamlet (1990). He’s a brilliant actor who never misses the mark. He chews the scenery every time he’s on screen. He plays the role in a Shakespearean fashion much like Suzanna Hamilton. They play off each other like Prospero and Caliban and it was a pleasure to watch.

Also, I was surprised to see a couple new faces who also turned in powerful performances. Viraj Juneja and Francesca Baker play off of each other brilliantly. Their relationship is murky and provides additional tension as secrets become revealed.

This is not a film heavy on exposition or dialogue, period. It is all about symbolism.

You need to watch every scene as there are hints and story elements hidden within every shot.

All that being said, the real question is: Is this a good movie?

Yes, but I think it will be divisive. I very much enjoyed the psychological cat and mouse game, and the plot overall. The ending felt flat and anti-climactic. There was a seemingly random Lovecraft reference, and a sudden supernatural element that corrupted things. However, once I had time to process, it made sense. If I were to do a second viewing, I think my assumption would be proven true by the hidden story amidst the background of scenes.

This film looks like a million bucks and has acting in spades. However, it isn’t going to be for everyone. There are uncomfortable taboos addressed, and some brutal violence. However, this is neither a gorefest nor a full-on horror film. The trailer makes it look like other home invasion films like 1997’s Funny Games, but that isn’t a good comparison.

This is Jacob’s Ladder performed by the Royal Shakespeare Company, and I love the originality.

I think independent filmmakers should watch this for the quality of the filmmaking alone, but I would recommend a watch for anyone looking for something different than the norm.

Who knows, you might just be as surprised as I was.

Ride the Snake is available for rent on all platforms, and I believe it will be appearing at film festivals internationally soon.