Review: 13 Cameras (2015), a Voyeuristic Horror Film

I made the mistake of watching 14 Cameras (2018) before I knew that 13 Cameras (2015) existed. It didn’t really ruin anything for me. In fact, watching the first film provided some answers to a few questions I had regarding the 13 Cameras sequel. In any case, you don’t need to watch Victor Zarcoff’s 13 Cameras to enjoy his subsequent film — or vice versa. They both function well-enough as standalone horror films. However, while the original was lauded by most critics as a terrifying exploration of voyeurism and the penetration of domestic space, the sequel was largely dismissed as a repetitive cash grab. I tend to disagree, but that doesn’t take away from the fact that 13 Cameras (2015) is a frightening and largely well-produced indie horror film.

13 Cameras opens with a few statistics about the millions of security cameras sold every year, as well as the thousands of unsuspecting victims watched without their knowledge. In the age of the Cloud and constant virtual connectivity, we often worry about our “data” being shared with unknown people. However, it’s a far scarier premise to think about our daily lives being streamed to anyone for their own viewing pleasure. 

In 13 Cameras, a young couple, Claire (Brianne Moncrief) and Ryan (PJ McCabe), move across the country into a small ranch house, owned by the repulsive landlord, Gerald (Neville Archambault). Gerald barely says more than a few words to them and speaks mostly in grunts and shrugs. Claire quietly complains that their new landlord is creepy, disgusting, and smells like a dirty diaper. However, Claire is pregnant, so Ryan tries to keep her positive about the move.

We soon come to discover that Gerald has tiny security cameras planted throughout the house. He watches the couple sleep, shower, bicker, eat, and — perhaps most importantly — not have sex. Ryan complains to a work friend that he and his wife haven’t had sex in months. The relationship, at least from his perspective, has become strained. Thanks to Gerald’s cameras, we learn that Ryan frequently invites his new secretary over for sex while Claire is gone. This provides Gerald with more than enough material to keep himself entertained. 

Unfortunately for all parties involved, the situation begins to unravel when Ryan’s secretary, Hannah (Sarah Baldwin), refuses to allow Ryan to break things off cleanly. Having discovered that Claire is pregnant, Hannah becomes hell-bent on telling her about the affair. When Hannah suddenly stops showing up for work, Ryan thinks that all of his problems are solved. However, the landlord has other plans in mind.

In many ways, 13 Cameras suffers from its inability to do anything special with the premise. There have been plenty of voyeuristic horror films before. Peeping Tom (1960), Psycho (1960), When a Stranger Calls (1979), and Vacancy (2007) all do well enough to establish a creepy, ever-present villain who sees and hears everything. However, 13 cameras is all about the villain’s ability to not just watch his victims, but rewind, replay, and store the footage for his own sick pleasure. While we do see this happen from time to time, the film appears so caught up in the deteriorating relationship between Claire and Ryan that we hardly have time to appreciate the true terror of Gerald’s actions.

Like any horror film about voyeurism, the audience gets to take part in the culpability as well. When Gerald watches Ryan and Hannah having sex, we watch along with him. As Gerald gets pleasure from seeing Claire take a shower, we get some degree of pleasure as well. In essence, we are the villains, because we do all of the same things that Gerald does. We watch and we enjoy ourselves. Naturally, once Gerald’s “perfect” situation starts to collapse, he becomes increasingly violent and unhinged, but up to a point — we are all Gerald.

I talk about Gerald so much because he really makes 13 Cameras what it is. If it were just a film about a young couple being watched by an unseen creep, it would probably not be all that interesting. Neville Archambault was born to play this role. He comes across as the creepiest, most physically repulsive movie villain in recent memory. Unfortunately, the film doesn’t always live up to Archambault’s memorable performance.

Neither of the lead actors do much to convince us that they’re not in a horror movie. PJ McCabe gives a particularly half-hearted performance, while Brianne Moncrief does a passable job as the suspicious wife. However, it’s the production value that occasionally causes the film to sputter and fall flat. For instance, in one scene late in the film, we see Ryan carrying a baseball bat and flashlight as he descends the stairs. In the next shot, we see him with only one of the items in hand. Just one shot later, both the baseball bat and flashlight are inexplicably in his hands again. There are a few other minor continuity errors throughout, but none as egregious and noticeable as this one.

A lot of viewers took aim at the ending, which is sure to divide audiences. I will say that the ending makes more sense once you’ve seen 14 Cameras. However, that doesn’t really make it any better for those who have not. In any case, I am one of the few reviewers to think that the sequel outshines 13 Cameras. Yes, many of the same horror tropes remain, but the filmmakers put the act of watching at the front of the story. Rather than getting wrapped up in the contrived dramas of those being watched, we feel complicit in the act of watching, while also seeing the inner-workings of the villain’s day-to-day operations. In short, 14 Cameras finds much more interesting ways to play with the genre than the original. 

It’s unclear if the 13 Cameras series will continue with a “15 Cameras” and beyond. However, I hope that Neville Archambault is able to continue his role as the creepy voyeur in some form. In the meantime, you’ll just have to enjoy his disgusting and brilliant performances in 13 Cameras and 14 Cameras.

13 Cameras Movie Rating: ★★★ out of 5

If you’d like to watch 13 Cameras (2015), it is currently available to stream, rent, or purchase via Amazon. Additionally, 14 Cameras (2018) is available right here. For more film reviews like this one, be sure to check out the Philosophy in Film Homepage!