Terrestrial (film)

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Three friends visit their friend, the writer Allen Perkins, at his spacious California home to give him support after hearing from his concerned mother. They find a smaller guesthouse covered in a tarp outside, but Allen explains it away by saying that there are termites. Vic admires the Mustang GT in front of the house, but Allen refuses to let her drive it. Upon entering, they find broken glass of wine on the ground. Maddie shows off her new engagement ring, bragging that Ryan recently proposed to her. Vic asks Allen if everything is alright, and he assures her that it is. Ryan and Maddie privately theorize that Allen might be feeling the pressure of having to write a great book now that he has signed a book deal.

Vic is surprised to find an entire room dedicated to book series the Neptune Cycle by S.J. Purcell, whom Allen considers to be the greatest author in the history of science fiction. The room contains the books from the series as well as mementos and props from the film based on the book series and a television screen continuously playing the film on a loop. Allen is dismayed when Vic plays with the prop head of a Voxti, an alien creature from the Neptune Cycle. He explains that the Voxti come from one of Neptune's moons, choosing when to be seen and when to remain hidden. When the end of the world comes, the Voxti will shepherd the chosen ones believed to hold great potential away to a transport vessel where they will enter a greater Voxti consciousness known as the Vox Electis. He further explains that one of the books is about a loser janitor who is chosen by the Voxti because they see greatness in him.

As they are playing table hockey, Maddie describes how Allen was a loser in their younger days, and Ryan says that he never would've gotten together with Maddie if Allen hadn't vouched for him. The phone rings later in the evening as they are playing table hockey, but Allen refuses to answer it, stating that it is probably just telemarketers.

During dinner, Allen describes his new book as a work of science fiction in which he wants each page to feel like a saga that spans millennia. Pressured by Ryan to give details, he explains that the book is about a man named Atom who awakens in New York City with no memory and discovers that he has the ability to manipulate matter. The man then meets up and falls in love with a physicist named Eve, and together they change the course of history. Allen describes the book as part revisionist history meets mystery with a little bit of romance. Despite not having written the book yet, Allen claims to already have a movie deal for it. Ryan expresses skepticism, and Vic makes Ryan describe his idea of having an Olympic-themed bar with Olympic sports as activities. Allen tells him to do it and says that he will invest, stating that he would do anything for Maddie, then adding that he would do anything for any of them. While Ryan is explaining the backstory of the idea, Allen suddenly stands up and leaves, claiming that he is going to "check the garbage".

Vic walks outside to smoke a joint and becomes curious about the guesthouse under the tarp, but Allen finds her and accompanies her back inside. They notice Ryan and Maddie fighting and Allen becomes concerned, stating that he only wants the best for Maddie since he's the reason they got together in the first place. Ryan and Maddie go upstairs to bed and notice an odd painting of aliens on the ceiling of their room. Allen goes outside to check on the tarped guesthouse again.

The next morning, Allen has prepared breakfast, which turns out to be a plate of pickles. Vic eats it but says that Ryan and Maddie have left to go grocery shopping. A frustrated Allen beats himself up for thinking that a pickle plate would be a good idea for breakfast.

Vic suggests taking a drive in the Mustang GT that she was previously admiring outside, but Allen angrily refuses to let her drive it for fear that she will wreck the car. Allen suddenly apologizes and gives her the key to the car, which bears a license plate reading "VOXXXTI". Vic discovers that the car handles strangely and attempts to get Allen to come help her, but he refuses because he is dealing with something else upstairs. Vic returns to the car and finds a threatening handwritten note in it stating a final warning that $200,000 must be paid by July 15th or there will be serious repercussions.

A flashback shows Allen working in a diner, listening to S.J. Purcell's audiobook about how to become a successful science fiction writer, and receiving rejection letters from publishers. One day, S.J. Purcell enters the diner and is confronted by another man with the threatening note. Purcell asks the man to tell Marty, a loan shark, that he will get his money soon. Purcell returns to his car, where he finds Allen's unpublished work Time Genesis sitting on the passenger seat. Allen follows Purcell to his house, where Purcell is leaving after making a fumigation appointment of the guesthouse, and Allen sees Purcell throwing away Time Genesis and driving away after telling someone on the phone that he is leaving town for a while. Allen pulls Time Genesis from the garbage and angrily tears up the pages. He sees Ryan and Maddie's engagement announcement on Instagram, then has a vision in which he sees himself as a parallel of the loser janitor from the Neptune Cycle being chosen by a visiting Voxti. Allen invites his friends to his supposed new home and sneaks into Purcell's home, but Purcell unexpectedly returns, leading to a fight in which Allen knocks out Purcell and the glass of wine breaks on the floor.

It is revealed that Purcell had awakened during the dinner, so Allen tied him up in the guesthouse under the tarp. Purcell, believing that Allen has been sent by Marty and offers to show him the latest novel in the Neptune Cycle if he releases him. The next morning, Allen discovers Purcell almost unconscious. Purcell asks for his insulin, so Allen rushes inside to find it and discovers the unfilmed TV pilot for a planned Neptune Cycle TV series. Allen injects the insulin into Purcell before giving Vic the keys to the Mustang GT when he notices Purcell's son and daughter entering the house. Allen ties up Purcell's daughter in the basement and then heads upstairs, where he is interrupted by Vic talking about the car. He tells her to go back outside and drive the car, then he tries to subdue Purcell's son, but the boy attempts to escape by climbing over a railing and ends up falling to his death.

Maddie and Ryan return from buying groceries, and Vic reads the threatening note to them. They all assume that Allen is the one who owes money and that he has been acting strangely because July 15th, the day the enforcer is supposed to arrive.

Allen confronts Purcell about changing the names from his book Time Genesis and using the plot for his screenplay for the new Neptune Cycle TV pilot. Purcell apologizes and offers to work with Allen as partners. Meanwhile, Purcell's daughter escapes and frees her father. Vic answers the phone and is told by the enforcer from the diner that he is on his way to the house. Vic attempts to go free Purcell, but he believes that she is a home invader and strikes her dead with a shovel when she enters. Purcell enters his home and discovers the dead body of his son hidden in a prop capsule.

Ryan convinces Maddie to return home with him to get married. Maddie walks outdoors and screams when she discovers Vic's dead body. Ryan rushes outside and is shot by Marty's enforcer. Allen and Maddie reach Purcell's car and drive over the enforcer, but Maddie is shot dead. As Allen weeps over her body, Purcell finds him and begins beating him. As he is being beaten, Allen has visions of the Voxti as well as scenes from the Neptune Cycle film. He grabs the enforcer's gun and points it at Purcell, blaming him for being the cause of Maddie's death. Before he can shoot, Purcell's daughter stabs him in the stomach. Allen uses his remaining energy to enter the guesthouse under the tarp and scribble his own signature onto Purcell's TV pilot screenplay as the fumigators arrive and pump gas into the guesthouse. As he dies, Allen imagines experiencing the Vox Electis with a large group of Voxti who have visited the house and sees this scene shown on the television screen in Purcell's house.

• Jermaine Fowler as Allen
• James Morosini as Ryan
• Pauline Chalamet as Maddie
• Edy Modica as Vic
• Rob Yang as The Collector
• Brendan Hunt as S.J. Purcell
• Flora Wildes as Voxti / Waitress
• Taylor Gray as Anton
• Harrison Cone as Fumigator
• Gable Swanlund as Lilith

The film premiered at the Fantasia International Film Festival on July 20, 2025. In Canada, it bears the title Chimera.

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Reviewer Dennis Harvey of Variety wrote, "A cheerfully macabre comedy of misunderstandings, lies and delusion, 'Terrestrial' teases with the promise of science-fiction — but it turns out the kind of fantasy at work here is less about outer space than the inner space of frantic reality-denial. An auspicious first produced screenplay for the duo of Samuel Johnson and Connor Dietrich, this Fantasia premiere also affords director Steve Pink his best feature to date, one whose tonal finesse is a considerable leap from his studio comedy 'Hot Tub Time Machine' (and its sequel). While the lack of major marquee names might limit initial exposure, the mingled genre elements, subversive humor and genuinely clever, unpredictable narrative should accrue the indie production an enthusiastic cult following. [...] There's a lot going on here, unfolding in a fashion that will send some viewers back for seconds or thirds, just to better appreciate how adroitly all the moving parts work together."^[1]

Reviewer Sara Clements of nextbestpicture.com wrote, "All is not as it seems in this film – not even close. [...] What makes 'Terrestrial' so effective isn’t its sci-fi leanings but its commentary on idolatry, self-delusion, and the crushing pressure to appear successful, especially in a world obsessed with fame and image. Allen’s spiralling descent isn’t just about mental illness; it’s about a very human need to be seen as important, as worthy. The film asks: What happens when the dream isn’t real, but we live like it is anyway? [...] 'Terrestrial' is a sharply written, emotionally volatile ride that fuses genre thrills with grounded drama in its gripping exploration of ego, madness, and the lies we tell to survive."^[2]

Reviewer Ken O'Shea of warped-perspective.com wrote, "Whilst it’s rare to start a review with as-yet unqualified praise, needs must in this case: Terrestrial (2025) is such an incredibly clever, ambitious project. This tale for our times is filled with surprises, and it’s a huge credit to director Steve Pink and to writers Connor Diedrich and – good name for a writer – Samuel Johnson, that those surprises keep on coming. [...] An exhilarating, tangled web of deception, double-crossing and questioning, it wouldn’t do to say too much more about this title. This makes it slightly tricky to review, but if a review is at least partly there to help people decide whether to see a film or not, then I hope this one has said enough to make people want to watch. Go in with as few preconceptions as possible, and just allow this creative, humane, modern moral tale to do its thing."^[3]

Reviewer Jared Mobarak of thefilmstage.com wrote, "This is a genre film taking big narrative and tonal swings, so the chance Allen is walking himself off a cliff of lies to a bloody end is just as likely as him being chosen and replaced by an alien at a moment of desperate need. [...] Terrestrial wears a pitch-black humor on its sleeve, a fact that won’t prepare you for how bleak the filmmakers are willing to run. Right when you think things are falling apart perfectly for Allen to ease out of trouble (or, at the very least, mitigate it so his friends can escape) Pink and company hit the gas and ensure the consequences of his actions land as hard and painful as possible. I love the willingness to go for the jugular and really push this character to a point of no return as far as being unable to accept what he has wrought. It provides Fowler a great acting showcase, demanding he constantly flip between devastation and an uncanny calm. The death of a dream can sometimes be impossible to bear."^[4]

Reviewer John Dotson of thecosmiccircus.com wrote, "Similar to Grosse Point Blank, Pink's new film delights in subversive dark comedy. [...] Terrestrial accomplishes a feat that is difficult for a storyteller. The narrative begins with a visual that makes the viewer believe they are watching a specific genre of film. For a while, it maintains the illusion while introducing the characters. But like any good magician, the performer (or storyteller) suddenly pulls the rug out from under the audience. Steve Pink's dark comedy entertains viewers while skillfully playing with this twisty storytelling style, commenting on the barriers of being discovered as an artist. While Terrestrial has a rough landing, director Steve Pink weaves many of his Grosse Point Blank sensibilities into the film. [...] Terrestrial's only flaw is its final act. Like the works of famous writers such as Stephen King, the effort struggles to find a conclusion worthy of the excellent second act. To be as vague as possible, the ending unravels all of its weaving threads predictably. It’s not a terrible finale, but considering the impressive narrative twists in the middle, it seems like the writers put all their energy into the halfway mark and lost momentum afterward. Even so, Pink's Terrestrial is a sharp and subversive ride."^[5]

Reviewer Nathaniel Muir of aiptcomics.com wrote, "Character quirks and scenes from the earlier parts of the movie are paid off later on. Some things like missing wall decorations and the state of the home beg an explanation. But even seemingly innocuous moments like dinner the first night start to have meaning as Terrestrial unfolds. [...] Terrestrial is a comedy of errors that is not very funny. There is good tension and some shocking moments, but tonally it feels off. The sci-fi aspects which open things up end up meaning little in the grand scheme of things. It ends up being more disappointing than anything else."^[6]

Reviewer Jake Tropila of inreviewonline.com wrote, "Terrestrial is a very difficult film to summarize to any meaningful degree, as revealing any of the film’s many secrets would spoil all the fun present therein. Without giving too much away, there’s a hard turn at the end of act one that shifts focus to another major character and places all the film’s preceding events into new perspective. Pink successfully juggles multiple tones as the weekend stay grows much darker from this point, even wading into material regarding the dangers of toxic fandom and para-social relationships. At a point, this surfeit all threatens to crumble under its own weight, but Terrestrial keeps things intact by committing to a lightness of foot, moving briskly through any potential danger zone so as to not any one thing saddle proceedings. The cast is especially helpful in service of the film’s aims, and Fowler in particular, as the actor is tasked with a very difficult role that must be played at multiple registers, which he executes impressively as he carries the film across the finish line. Ultimately, then, Terrestrial proves to be a solidly entertaining genre sandbox, a film savvy enough to undercut its weaknesses of overinflation, and one that will certainly play better to viewers who go in as blind as possible."^[7]