‘Terrestrial’ Movie Review [Fantasia 2025]: A Twist-Filled Thriller Loses the Plot Along the Way

Photo from Fantasia Film Festival

From Jeff Nelson

Countless people flock to Los Angeles to pursue their idea of the Hollywood Dream, but the success rate is low, and it isn’t necessarily about talent. Sometimes, it’s about being in the right place, at the right time. The plot of director Steve Pink’s Terrestrial revolves around opportunity, leading to a series of twists and turns, but ultimately fails to tell a cohesive story.

Rising sci-fi author Allen (Jermaine Fowler) sits at the center of what looks like a crime scene – with broken glass and a trail of blood streaked across the floor. He’s expecting three college friends who are visiting his home for a weekend reunion, but for them, it’s also a wellness check after hearing he may be having a mental breakdown. Engaged couple Maddie (Pauline Chalamet) and Ryan (James Morosini), and the free-spirited Vic (Edy Modica), are shocked to discover their long-time friend now living in a gorgeous mansion, complete with an expensive car and a room dedicated to The Neptune Cycle – a classic book turned cheesy sci-fi movie, written by his idol, SJ Purcell (Brendan Hunt).

People aren’t always as we remember them. Allen can’t let go of his old fling with Maddie, taking credit for her relationship with Ryan. She’s the glue that holds the group together, sympathizing with the writer’s sensitive side. However, her fiancé is the complete opposite; he’s hesitant to believe his rags-to-riches story when there’s no published book to show for it. This causes the soon-to-be-married couple to clash, especially when Maddie forces Ryan to discuss his business idea for an Olympics-themed bar. Meanwhile, Vic is just there to have a good time, joking with Neptune Cycle memorabilia and yearning to take Allen’s impressive Mustang for a drive.

Ryan isn’t wrong to assume that Allen is acting out of the ordinary, but Maddie dismisses it as possibly part of his alleged difficulties. Up until this point, Terrestrial is a fakeout. The movie reveals its true colors after it flashes back three months before to show how we ended up in this fancy mansion, simultaneously unveiling the real stakes. Writers Connor Diedrich and Samuel Johnson take their time getting there. Some of the same scenarios play out from another perspective, as the narrative struggles to hold onto any tension. 

James McAlister’s score commendably matches Allen’s state of mind, walking the line between B-movie sci-fi and hectic electronic beats. Fowler captures the character’s perpetual nervousness. From a sweaty confidence to deluded passion, he radiates authenticity. If only the same could be said for the script. Once the thrills finally find their violence-inducing rhythm, it’s a case of too little, too late.

The story of a sci-fi-obsessed writer blurring his reality with the fantasy he reads and creates is far more compelling than the direction the film chooses. The dark comedy is situational, and it’s never laugh-out-loud funny. Terrestrial heavily relies on plot mechanics to do the heavy lifting, delivering a considerable amount of build-up with little payoff. It shies away from the uncomfortable dialogue it hints at, making this sci-fi thriller all bark.

Rating: 2/5

Terrestrial played at Fantasia 2025 on July 20th.

Follow Jeff