Trust is a 2025 thriller directed by Carlson Young, written by Gigi Levangie, and produced through Twisted Pictures and Republic Pictures. It runs 90 minutes and stars Sophie Turner as Lauren Lane, a Hollywood actress who retreats to a remote cabin after a hacking exposes a pregnancy scandal, alongside Rhys Coiro, Billy Campbell, Peter Mensah and Katey Sagal. It took three hundred and sixty-eight thousand dollars at the box office and holds a twenty-one percent approval rating on Rotten Tomatoes, where one critic described it plainly as the dumbest movie of 2025. I have watched some genuinely poor films this year, and this sits right down there with Uglies at the very bottom of the pile.

The tone is set almost immediately. Lauren is pregnant, arrives at her secret hideaway, and the first thing she does is pour herself a large glass of wine. I knew at that moment what kind of evening I was in for.

Sophie Turner is the film's lead and, for my money, its first significant problem. She cannot sustain an American accent, and in a film that repeatedly places her character's life in danger, the accent remains the thing most visibly at risk. It is worth noting that Turner is also an executive producer here, one of her first producing credits, so the accent was presumably approved at the highest level.

The central section has Lauren trapped in a room. Not a panic room, not a vault, an ordinary room, apparently a boiler room, in which she spends the overwhelming majority of the film. At one point she begins peeling away the wallpaper in an attempt to escape, and within roughly two minutes of screen time her hands look as though she has been clawing at the wall for days. Continuity and time appear to have been treated as optional throughout.

The antagonists fare no better. The two men robbing the property accidentally shoot their own associate, then decide to finish him off to avoid prison. Shortly afterwards, one of them fires at a metal door, and the ricochet clips his partner in the shoulder before rebounding and killing the shooter outright. The villain arc concludes with a man defeated by a door. I genuinely laughed, and I do not believe that was the intention.

Then the room begins to flood. It is worth stressing again that this is a normal room with a normal door, which has a gap beneath it, as doors do. And yet the water level rises steadily, as though the door has made a binding commitment to contain it. One audience review simply asks whether anybody in the film understands how doors work, and it remains the most insightful piece of criticism the film has received.