Sophia Monet (Mischa Barton) has been troubled ever since her father died, because she was brought up by him to believe in a benevolent God, but in the last six months of his life he lost his beloved wife which truly shook his faith. He wasn't going to say anything to his daughter, but on his deathbed, right before he passed away, he admitted he now believed there was nothing after death and this existence was all there was, a confession which shook Sophia to the core, especially as he slipped away so soon after without giving her a chance to comfort him. At the funeral, she could not hold back when she gave his eulogy...
And the moral of this appears to be, don't swear in front of the congregation at a funeral. Here was a movie which began as a drama, turned into a romance, then opted for a gender reversal of the Orpheus and Eurydice myth as things became spookier. That first act saw Sophia endure a hefty amount of soul searching as she wrestles with the notion that her religious faith really counts for nothing and people die, suffer mishaps and generally have a miserable time because there is no deity looking down on us to take care of his souls, things just happen and then you cark it, leaving whatever you have done pointless as there is no afterlife to reap the benefits of a life well lived.
It's being so cheerful that keeps her going. Anyway, one of the last things her father said to her, and he said quite a lot before he kicked the bucket, was that he hoped Sophia would find a boyfriend to take away some of the pain of this vale of tears, so after moping around her apartment she happens to literally bump into a handsome chap by the name of Adam Hunt (Ryan Eggold, also an actor who made his name on a glossy American TV soap). After picking herself up off the ground, they get to talking and before you know it their meeting cute has developed into a romance where Adam's essentially optimistic demeanour salves Sophia's darker moods. So far so good, but one night she is asleep she is awoken by something pushing down violently on her chest and she understandably panics - the first person she phones is her boyfriend.
This brings them closer together, and soon she is happy to spend the night with Adam, though here's where things grow really weird because the high rise apartment he lives in with flatmate Astrid (Leah Pipes) could well be haunted. Which would appear to be to teach Sophia a lesson since she asked for a sign from God at the funeral in front of everybody, though this might not be what she had in mind because if the rest of the movie pans out to His grand plan then He's not exactly sane. That said, writer and director Mark Edwin Robinson was fuzzy on what precisely he was getting at, so whether the message about any higher power was lost in the editing or back in the writing stage was anybody's guess, but what was clear it didn't survive to the final cut. Indeed, once Adam disappears and Sophia, Astrid, her flatmate Sam (Jaz Martin) and his pal Penny (Melinda Y. Cohen) venture up to the top floor to bring him back, there may be plenty of low budget strangeness occurring but a sore lack of anything resembling coherence. This may have been thematically ambitious, but needed a lot more whipping into shape. Music by Jesse Voccia.
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