Baby Ruby

There is an appealing directness to Baby Ruby. It knows it is a horror film, understands the expectations attached to that label, and then looks for small ways to give the material its own voice. Directed by Bess Wohl, it leans on Noémie Merlant and Kit Harington to give the material a human centre. At story level, Bess Wohl's, tightly and scripted shape the central setup, but the later turns are best left for the film to reveal.

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The horror works best through atmosphere rather than constant noise. Careful pauses, uneasy framing and the suggestion of danger create more tension than the obvious shocks, and the cast sells the fear by treating the situation seriously. The central idea is more promising than the execution. The film struggles to build momentum, and the characters are often asked to serve the plot instead of behaving like complicated people. A few committed performances create sparks, but they cannot fully solve the structural problem.

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Performance wise, Noémie Merlant provides the most dependable anchor, bringing focus to the film whenever the plot threatens to become mechanical. Kit Harington offers a useful contrast in energy, and Camila Canó Flaviá helps widen the emotional range of the ensemble. The acting is not equally subtle in every scene, but the group understands the required tone and rarely appears to be performing in different films.

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Thematically, Baby Ruby is interested in fear as a response to lost control, isolation and the suspicion that familiar spaces can no longer be trusted. The scares carry more weight when they grow from those pressures, turning atmosphere into an extension of character rather than a separate attraction. The film is most persuasive when these ideas emerge from behaviour rather than speeches. That additional layer gives the story more purpose than a sequence of familiar genre beats, even if every implication is not explored with equal depth.

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From a craft perspective, sound and editing do much of the hidden work. The film uses pauses, restricted viewpoints and carefully timed cuts to control what the audience understands. Lighting creates uncertainty without making the images unreadable, and the soundtrack is most effective when it suggests danger quietly rather than insisting on tension before a scene has earned it.

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The film's choices are often obvious without being satisfying. It pushes plot points forward while leaving relationships thin, so later consequences have limited weight. There are flashes of competence, but not enough personality to make the experience memorable.

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Overall, Baby Ruby is more missed opportunity than satisfying experience. There are isolated strengths, but I cannot recommend it beyond very curious horror viewers who value mood, tension and committed performances over nonstop jump scares.