A pair of content creators get more than they expect when investigating an abandoned building in Joby Stephens’ Abandoned.

Online channels built around exploring eerie or forgotten spaces have grown rapidly in popularity. They let viewers indulge their curiosity while keeping any real danger at a distance. The hosts venture into dark, neglected buildings with only a flashlight and a camera, uncovering fragments of history that hint at what once happened inside.

Abandoned builds on that appeal by placing its protagonists in a space filled with unanswered questions and quietly unsettling detail. The film centres on Jess (Grace Gallagher) and Adam (Cameron Wight), two content creators trying to break into the already crowded world of abandoned‑site exploration. They have poured their own money and time into making their channel look professional, but their goals are already drifting apart. Jess has a job offer she hasn’t shared, one that would pull her away from a project that has yet to gain traction. Adam sees the channel as their future and wants to turn it into a full-time livelihood. He keeps framing every decision around what he believes will grow it.

Their friendship was once close, but it’s now clearly falling apart. The clash between them comes from how differently they approach the channel, with Adam pushing Jess to do things she doesn’t want to do and showing little awareness of her boundaries. They can still work together when they have to, and there are moments where the old connection flickers back to life, but the tension never really leaves. It feels like a long-standing relationship that has worn thin, with familiar rhythms that now spark frustration instead of comfort. Adam’s tendency to dismiss her feelings keeps pulling them back into the same arguments.

The script is strong, and the chemistry between the leads makes every exchange feel lived‑in. Their dialogue has an easy, conversational flow, with small overlaps, pranks and in-jokes that keep them grounded even when they’re irritating each other. They’re clearly drawn in by what they find, but they never stop needling one another, which gives their scenes a steady pulse. That back‑and‑forth adds energy to moments that could have felt repetitive, like moving from room to room, taking in each space and trying to piece together what happened there.

Repetition isn’t a flaw. It fits the kind of content the film is mimicking and highlights how much these channels rely on the personalities presenting them as much as the locations they explore. Abandoned leans into that by having Jess and Adam repeatedly pull themselves out of their own reactions, recalibrating before the tension can settle.

One of the most compelling unspoken ideas is that Jess and Adam’s channel hasn’t taken off because they’re not actually good at presenting the content they capture. They’ve got all the right equipment, but their delivery keeps undermining their work. They talk over important details, miss chances to build tension, and never quite know how to guide the viewer through what they’re seeing. For example, they’ll hold a beat longer than it needs, which makes the direction feel unsure. It’s a clear reminder that success in this space takes more than gear. It takes presence, timing, and a feel for shaping the moment.

The film makes great use of its location. It’s a dark, claustrophobic maze filled with small details that invite the characters to keep exploring even when they shouldn’t, like massive metal doors marked with quarantine symbols. Narrow hallways and disorienting rooms build a steady sense of danger, and each turn tightens the sense that Jess and Adam should stop and head back to safety.

Visually, the film is grounded, deliberate and methodical. Most of it unfolds through the handheld cameras Jess and Adam carry, lit only by their flashlights, which locks the viewer into their narrow field of vision. Periodic cuts to footage from hidden cameras placed around the building make it clear that someone is watching them move through the space. Those shots add a quiet, constant threat that deepens the mystery without spelling anything out. The tension builds through technique rather than tricks, and the professional gear keeps the footage stable enough to stay immersive without slipping into the chaotic shaking that often leaves found footage audiences feeling nauseated. It’s a controlled, confident piece of filmmaking that knows exactly how to use its tools.

Abandoned stumbles a little once the questions start getting answers. The reveals make sense, but they don’t quite match the slow, creeping dread the film builds so effectively. Some of the developments feel closer to familiar horror beats, like a sudden shift into more conventional scares, than to something shaped by the film’s own techniques, creating a slight tonal break. It isn’t enough to derail the experience, but the last act does sit apart from the rest in a noticeable shift.

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Verdict

A confident, atmospheric found‑footage film that turns its striking location and lived‑in character work into a steady, methodical source of tension.

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