I really liked the premise of Echo Valley, which follows a mother, Kate (Julianne Moore), still recovering from the death of her partner, who ends up having to cover for the mistakes of her drug-addicted daughter (Sydney Sweeney), after she accidentally loses a stash belonging to a drug dealer. Blending elements of Beautiful Boy, Ben Is Back, and Euphoria with a thriller structure, it’s a premise full of potential—one that explores how far a mother will go to protect and make up for her daughter’s mistakes. It also touches on the guilt Kate carries, feeling partially responsible since she left the family to start a new relationship.
That setup gives the first half of the film a strong foundation, with touching moments tied to the protagonist, working both as a character study and as a thriller. The performances are solid—especially Julianne Moore and Fiona Shaw (as Kate’s friend)—and the script efficiently builds the dynamics between the characters. The film is at its best when dealing with Kate’s internal conflict on how to actually help her daughter, who the film isn’t afraid to portray as the most unlikeable person on the planet. That makes Kate’s actions even more complex.
It’s a shame, then, that after a first half where both the drama and thriller elements are well balanced, with engaging dialogue, well-timed reveals, and effective twists, the film loses its grip in the third act. It strays from the central relationship and instead focuses on an elaborate plan that doesn’t add much emotionally. Part of the problem is also Domhnall Gleeson—who, in 2025, is proving to be an unreliable choice for villain roles—he always comes off more pathetic than threatening. The lack of tension around the antagonist makes you question why Kate even feels threatened in the first place, and honestly, why we should care—since the stakes suddenly feel quite small (he injects her, and… then what? He just kind of stays there?). The climax hinges on a far-fetched plan that’s not as clever as the film thinks it is, and you can’t help but wonder if there wasn’t a much simpler way to solve things. With the daughter barely present in this stretch, the film doesn’t deliver a meaningful resolution to the conflict it built, making the ending feel frustrating.
Featuring a fittingly bleak and unpleasant score by the always-grim Jed Kurzel, and competent cinematography by Benjamin Kracun, Echo Valley does little to stand out from the endless sea of streaming content. It’s yet another film where the poster—two famous actresses and an intriguing plot—might catch your attention, but it’s likely to be forgotten soon after. That’s a shame, because the potential was there. Its dramatic moments (especially between Moore and Shaw) work well, and the protagonist is genuinely compelling. There are also a few solid surprises and situations that make you question what you’d do in her place. But all that promise is diluted by a third act that, while moderately entertaining, fails to live up to what the first half so effectively set up.