The film and TV industry can encourage aspirations in many who work within it, with them wanting to strive for more.

Take Alex Russell, for an example; he got his break in the industry as staff writer on the sharply funny TV show Dave. Not satisfied with that, he moved into the world of producing, working on the 2023 show Beef and The Bear.

Still restless/ambitious, he has made his directorial debut, which he also wrote, which ironically enough focuses on a young man with ambition.

Working in a hip clothing store in Los Angeles is Matthew (Thédore Pellerin). One customer walks in, who creates a buzz in the store; he’s Oliver (Archie Madekwe), and just goes by that name, as he’s a music artist, who’s clearly enjoying the fame that has come from his debut album.

Matthew sees him, and plays a particular song on his phone on the store’s speakers, which Oliver responds to. So much so that he invites Matthew to his upcoming gig, which he gratefully accepts.

The next thing Matthew realises he’s invited to his home, where his entourage also can be found, and he feels there’s an opportunity to become one of them, and get even closer to Oliver.

And Matthew gets just that, but it comes at a cost to both himself and the young star.

Russell’s debut has him shooting his protagonist Matthew, who ends up with the task of filming footage of Oliver, in what is a gentle meta twist.

It follows the journey of someone becoming a fanatic, and then taking advantage of his position once he’s penetrated the entourage.

After making an impact starring in both Saltburn and Gran Turismo, this feels like a backwards step for Madekwe, through no fault of his own.

Russell’s direction is a little loose and flimsy, and although the script is solid enough, he struggles with the overall tone, with the film’s genre being all too vague; there are some tense moments, but never manages to feel like a thriller. It has some dark edges, exploring the protagonist’s obsessive nature, but it never amounts to much.

It’s finale also supports this theory, which is disappointingly underwhelming, that undoes some of the brief positive moments of the film.

Maybe it’s a sign that directing is one industry position too far for writer/producer Russell, and he should perhaps stick to what he knows.

If not, he may have to take a page out his protagonist’s dedication book if he wants to make a bigger impression in the future.