The Wisher, AKA Spliced, AKA Did You Hear That: The Movie? is a 2002 Canadian horror movie directed by Gavin Wilding and written by Eileen Cook.

When I first saw this film in the early 2000s, it appeared on the horror channel in the UK under the name The Wisher, despite its more international name of Spliced. Although my memory of the film was a bit hazy, it always stood out in the back of my mind. This was largely because many scenes featuring the slasher villain took place in broad daylight, a notable departure from typical slasher conventions. This unusual aspect left a lasting impression and motivated me to revisit the film.

The premise centers around Mary, played by Liane Balaban, who bears a striking resemblance to a young Natalie Portman. Mary is obsessed with horror films despite their negative impact on her sleep. After exhausting all rental and TV options, she is excited to hear about a new hit B-movie, The Wisher, which features a nymph with the power of a genie, granting twisted wishes to its master. Mary soon realizes that her wishes start coming true, and she is stalked by an unknown cloaked figure who boldly stands in plain sight. The film incorporates a degree of self-referencing, seemingly deliberate in its focus on the influence of films on their audience. It explores the age-old argument of subliminal messaging and its potential to lead impressionable viewers to commit unspeakable acts, blurring the line between reality and fiction.

The Wisher oscillates between clichés and intriguing new themes, compelling dialogue and outright insanity. Unfortunately, a lack of conviction in the plot leads the filmmakers to play it safe, falling back on traditional slasher tropes rather than fully exploring the script’s themes of subliminal messaging and industry ethics. In some ways, this film feels like a precursor to what could have become Sinister if it had a clearer direction. However, the result is a hollow, unearned moral lesson about ethical filmmaking. The film also suffers from noticeable automated dialogue replacement (ADR) in some scenes and the overuse of preset horror sounds from basic software like iMovie during moments of tension, which often feel inappropriate. This suggests the filmmakers were afraid to let the film breathe, denying the audience moments of clarity to understand what is happening. Consequently, the ending is completely confused, with actors appearing panicked and unsure of the threat they face.

There is, however, an elephant in the room that struck me in the third act. The confusion within the film, the promotional discrepancies with its title, and the dual listing as The Wisher Incorporated and Spliced in the title cards, all contribute to its mysterious nature. Almost no information about the film’s production exists, and I believe this is a deliberate attempt to obscure it into non-existence. Even now, the only real way to find the film is by purchasing a hard copy.

The film’s plot awkwardly promotes digital ripping of music and films through torrenting. The only way the characters discover to “beat The Wisher” is by downloading the third act of the film and watching the ending. This blasé treatment of piracy contrasts sharply with the anti-piracy warnings we all remember from VHS and DVD days. Perhaps this contributes to the film’s shrouded history.

The Wisher firmly situates itself within the early 2000s horror buzz, borrowing elements from its slasher peers while attempting to introduce paranormal aspects. Ultimately, it feels much older due to its reliance on dated clichés and lack of commitment to a distinct identity. While the film had some promise, its overall confusion leaves the audience equally bewildered. The Wisher feels like it has an identity crisis and may be deliberately trying to erase itself from the horror repertoire.

A Feel Reel Rating – 4 / 10