‘The Saviors’ Review: Adam Scott and Danielle Deadwyler in a Timely Comic Thriller With Good Intentions and Clunky Execution

If there is one thing Sean (Adam Scott) would like to make perfectly clear, it’s that he’s only ever had the best intentions. He’s no bigot. He doesn’t buy into far-right propaganda like his parents (Ron Perlman and Colleen Camp) do. And he’s been nothing but hospitable to his new Airbnb guests, Jahan (Nazanin Boniadi) and Amir (Theo Rossi). If it happens that he finds them suspicious, it’s certainly not because they’re Middle Eastern. It’s only because there’s just something off about them, somehow.

As Sean eventually learns the hard way, though, good intentions can only ever count for so much. His movie, too, is proof of that. The premise of The Saviors, a genre-defying thriller written (with Travis Betz) and directed by Kevin Hamedani, is undeniably timely, exploring the way faulty assumptions about some unknown Other might have disastrous, even apocalyptic consequences. But an emphasis on broad ideas over nuanced detail yields a film that’s more interesting in theory than in practice.

Sean’s increasing fear of the Razi siblings isn’t the only problem he’s got going on. The only reason the place is being rented to begin with is because he and Kim (Danielle Deadwyler) are preparing to divorce and the mortgage needs paying off. No surprise, then, that Kim is initially skeptical of Sean’s conspiracy theories, assuming her aimless husband to be fixating on trivial nonsense. But as Kim also starts noticing odd things — including a missing journal and an alarming map, to add to the strange electrical equipment and unexplained lights Sean’s been trying to tell her about already — she slowly comes around.

The Saviors pitches its tone somewhere between horror, thriller and comedy, and there are elements of all of those in the slightly unnerving sense that Kim and Sean almost seem to need Amir and Jahan to be up to no good. The excitement of nosing around the siblings’ stuff, comparing notes afterward, hiring a private investigator (Greg Kinnear as Jimmy Clemente, who looks and acts exactly as you’d want a Greg Kinnear character named Jimmy Clemente to look and act) and planning to take their findings to the FBI rejuvenates their relationship like nothing else has. During a bout of make-up sex, Kim even asks for a change of position so they can both keep staking out the backyard while they screw.

But like much else in The Saviors, that almost psychosexual component is an intriguing idea that, once presented, just sits there. It’s not carried to some surprising logical extreme, nor deepened into rich character work. You can see what the film is trying to say about a political climate in which the best unifier is a common enemy, but it’s not expressed with enough finesse or confidence to hit a nerve.

The Saviors does not even tell us much about Sean and Kim, since despite Scott and Deadwyler’s affable chemistry — too affable, maybe, considering they’re about to split — the characters are so vaguely drawn that it’s never clear what brought this couple together in the first place, or what’s pulling them apart now. The real, meta reason for their coupling seems to be that the filmmakers wanted a Black woman to ever so slightly complicate the racial dynamics, calling Sean out for “living in a white bubble” when he fails to comprehend why these visitors might seem skittish in their lily-white town.

That she eventually starts to buy Sean’s thinking is rooted in another shrewd and salient observation, about the contagion of prejudice. The rank bigotry of a neo-Nazi newsletter filters through folks like Sean’s parents and sister (a very funny Kate Berlant) — which is to say conservatives, but mostly amiable ones. That, in turn gets spread to nice white liberals like Sean, then even more left-leaning skeptics like Kim. But once again, The Saviors undermines its own relevance by handling its characters like props being used to make a point, rather than people with their own complex motivations or contradictions.

This extends as well to Amir and Jahan, despite an impressive performance by Rossi that manages to convey the depth of Amir’s emotions long before we understand what’s behind them. The siblings are cryptic and unknowable by design, and Jahan even more so for her silence. (She’s deaf, Amir explains early on, but can lip-read.) The script does a decent job of keeping us guessing as to their true goals, playing on the tension between our desire to see them proven innocent and our gnawing realization that they’re clearly up to something strange.

Once the truth is out, however, and it becomes possible to piece together how the past several days have looked from their perspective, The Saviors just stops. It’s made its point — loudly and bluntly, including in a line of dialogue that might as well have been presented with a flashing neon caption reading “This is the theme of the movie” — and has nothing more to add. In fairness, it’s a message that’s always worth remembering, and one that sadly feels more essential than ever. If only it had been delivered in a package sturdy enough to really sell it.