'Lurker' Review: Alex Russell Craftily Examines Contemporary Fan Culture in Razor-Sharp Music Thriller
Alex Russell's debut feature, Lurker, asks: what happens when an artist you admire stagnates at mediocrity, losing the brilliance that first drew you in? We've all watched filmmakers, actors, musicians, authors, etc. drift into commercial complacency. How far would you go to reignite their original spark? This psychological thriller boldly examines contemporary fan culture through the eyes of a fanboy who infiltrates the inner circle of a rising artist, dissecting the intense relationships and motivations that drive such obsession within the LA music scene.
Image copyright (©) Courtesy of MUBI
MPA Rating: R (Language throughout and some sexual content.)
Runtime: 1 Hour and 41 Minutes
Production Companies: High Frequency Entertainment, MeMo Films, Twin Pictures
Distributor: MUBI
Director: Alex Russell
Writer: Alex Russell
Cast: Théodore Pellerin, Archie Madekwe, Zack Fox, Havana Rose Liu, Wale Onayemi, Daniel Zolghadri, Sunny Suljic
Release Date: August 22, 2025
Up-and-coming musician Oliver (Archie Madekwe) walks into the store where Matthew (Théodore Pellerin) works, searching for an outfit. His coworker, Jamie (Sunny Suljic), is a fanboy, but Matthew plays one of Oliver's favorite songs, which catches his attention. Matthew harbors a secret obsession with Oliver that dates back to his earliest years as an artist. Through a budding interaction, Oliver invites him to hang out with his group backstage at his show. Soon, Matthew assimilates into his crew, which includes manager Shai (Havana Rose Liu), yes-men Swett (Zack Fox) and Bowen (Wale Onayemi), and editor/DP Noah (Daniel Zolghadri). Upon arriving, Matthew learns he must earn his keep and assumes the role of director for an Oliver-centric documentary. But the lines between friend, underling, and fan blur in real time as Oliver and Matthew share a battle of wits, deciding who becomes the puppet master for the sake of Oliver's career.
Lurker embeds a thrilling psychological power struggle within music
Reminiscent of films like Saltburn and Ingrid Goes West, Lurker sees this retail worker skillfully maneuvering his way into the inner circle of his obsession. It’s engrossing how Russell coats it with the guise of the modern music industry within LA culture. However, unlike Ingrid and Oliver Quick, the movie details how deep Matthew's fanboy roots go as he overcomes many obstacles to join his favorite artist's group. Though he always keeps the audience at arm's length from Matthew's innermost intentions.
Lurker's magic stems from the subversive characterization of Oliver, a talented, self-made artist who’s content with his commercialized mediocrity. His room's set decor, which includes framed posters of the McDonald's logo, Mickey Mouse, and Jesus, is a clear indication of his hollow position as an artist, succumbing to commercialized status while shedding a massive ego. Russell captures a modernized version of Jesus and his disciples, even referring to his team as such, in which Matthew is a Judas Iscariot. However, this Judas's plans don't result in a crucifixion but instead a resurrection of oneself.
Archie Madekwe and Théodore Pellerin’s foiling performances are pitch-perfect
This is where Archie Madekwe's performance really shines. He explores his musical side with a Dominic Fike-type rhythm amplified by the original tracks from Kenny Beats, making you believe in his growing star status. His humanity is present in spurts, particularly when he’s around Matthew. He can be a personable soul who makes everyone feel like they’re flying when in his spotlight, but can turn into a power-hungry, insecure, and emotionally abusive diva in a snap. Madekwe's sudden eye movements and sinister grin while his crew members vie for his attention and approval add a weight that prevents you from feeling sorry for him when the powers that be shift in real time. Madekwe is doing exceptional character work. This arrested development artist, textured with humility and power, gives Russell’s study a whole new depth and scope.
Madekwe wouldn't be as strong as he is without the showstopping central performance of Théodore Pellerin. There’s an immense chemistry between him and Madekwe that transcends their loving, budding relationship, even to unsettling homoeroticism, resulting in a sense of freedom and buoyancy for Matthew. You're kept on edge throughout Pellerin's portrayal from beginning to end. It’s an eerie performance that will leave everyone feeling much discomfort, like Tim Robinson’s Craig in Friendship. But here, you're not laughing; you're terrified.
Lurker critiques modern LA music culture with bite
For Lurker being such an LA movie, it's hella scathing of its culture and the shallowness that stems from it. From the social-climbing nature of the backdrop, Oliver's group — some of whom just exist to inflate his ego — and how people's social status instantly rises based on who they hang out with. Throughout, Matthew is approached by younger people, citing his closeness to Oliver’s friend group as an inspiration. It's just as Denzel Washington recently said in a Highest 2 Lowest interview: “The thing about ‘following’ is, you’ve got to have something when they get there.” Matthew uses his newfound following to his advantage in a startling, engrossing way. He’s best exemplified by his quote: "We all want the same thing, I just want it more.” The city is captured so beautifully through cinematographer Patrick Scola's (Sing Sing) camerawork that coats the LA culture with an immersive grit and old-school flair, matching its ever-growing darkness.
In contrast to your Emerald Fennell nothing-burgers, it inevitably undergoes a dark tonal shift, but Russell knows how to deliver a message with meat. Lurker arrives at the right time, critiquing the current state of entertainment, showcasing how much mediocrity is encouraged. Music, movies, journalism, you name it. Entertainment has become a breeding ground for talent losing their individuality or flair due to their ego. They’re also surrounded by parasites that enable such mediocrity or bad art. If The Weeknd had a Matthew of his own, we could’ve been freed of The Idol and Hurry Up Tomorrow.
Final Statement
Lurker is a captivating, unsettling portrait of obsession with a subversive and scathing critique of modern art breeding mediocrity, and the ones who wish to see the real artist advance at its core.
Rating: 4.5/5
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