Although I am just getting around to writing this review now, I actually made time to watch Milk & Serial before getting along to the cinema to see Obsession. I had already heard good things about it when it landed on YouTube in 2024, but I wasn't convinced that it would work for me. Then Curry Barker's name started to get quite a bit of heat attached to it, which made me realise I would be better arriving late to the party than not turning up at all.
This is the tale of Milk (Barker, who also wrote and directed the thing) and his friend, Seven (Cooper Tomlinson). They're a couple of YouTube personalities who keep themselves busy doing YouTube personality things. Basically, the kind of nonsense I try to avoid watching. Things keep getting wilder though, and viewers get to discover a number of twisted secrets as Milk and Seven spend some time trying to get one over on each other.
Clocking in at just over an hour, and with a budget that was apparently comfortably under $1000, Milk & Serial may not have been the lazy mess I was thinking it might be back when it was first released. It's not really a calling card that could have led to people expecting something as good as Obsession either though. Barker helps himself immensely by working in an environment he seems comfortable in, and there's something running through the premise that makes it that bit more plausible because of who the main characters are, but that also means that some of the standard YouTube prankster moments feel as cringe-inducing and narcissistic as YouTube prankster moments usually feel (to me). Thankfully, the developing darkness, and moments of creative nastiness, soon overshadow the more vapid and lighter first act.
Barker and Tomlinson both do very well in their lead roles, although it's the former who impresses more, and getting the easier job because of having all of the facts available and spending more time talking directly to the camera. Jonnathon Cripple is also very good, playing a man who becomes caught up in what I'll horribly mislabel a "prank war", and there are decent performances from Adlih Alvarado, Sterling L. Pope, and John Simmonds, as well as one or two others, all working hard to present things in a way that feels as natural as can be when everyone is aware of a camera pointed in their direction.
While I wasn't blown away by this, and spent some time wondering why it garnered quite so much praise when it first appeared, I must admit that I've been more impressed with it as I've spent some more time thinking about it. I would have had a much stronger reaction to it if, like many others, I'd been surprised by this after following the many short videos done by Barker and Tomlinson on their YouTube channel. You may think it's quite simple, and technically crude, for a lot of the runtime, but Barker and co. actually work a lot of nice little touches and details throughout that make it smarter and more disturbing than it initially seems.
I recommend this to people who are now hearing all the love for Obsession. You don't have to watch this one first, but it's interesting to see what works here, and just how much he improves in every area for his breakout hit.
7/10
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