Do Not Enter Review: Influencer Idiots, Creepy Corridors, and a Hotel Full of Bad Ideas
A group of wannabe internet explorers go looking for hidden millions inside a haunted hotel and instead find a masterclass in terrible decision making in Do Not Enter.
There is something inherently stupid about horror films where characters knowingly walk into danger, but Do Not Enter takes that idea, sets it on fire, and then live streams it for about 80 viewers. That is genuinely the level of success our central group, known as The Creepers, are dealing with. After nearly thirty episodes of breaking into places they absolutely should not be, they still cannot crack triple digits in views. Influencer dreams are not dead, they are just stuck on buffering.
We meet the group in full chaotic fashion, sneaking onto a train in hi vis jackets like they are auditioning for the least convincing Ocean’s Eleven spin off ever made. One of them is pushed in a bin for reasons that never really make sense, and within minutes we already know exactly what kind of film this is. It is loud, messy, and filled with characters who think they are far smarter than they actually are.
After a previous attempt at content creation ends in arguments and exile for one unlucky member who decides to chip off some rare graffiti to sell, the group pivot to a much bigger idea. An abandoned hotel, a gangster’s missing millions, and an urban legend that says nobody who enters ever leaves. Naturally, this sounds like the perfect place to boost engagement.
The Paragon Hotel itself is easily the film’s strongest asset. Visually, it is creepy, decayed, and full of atmosphere. Director Marc Klasfeld and cinematographer Yon Thomas do a solid job of making the building feel like a character in its own right. Dark corridors, flooded tunnels, and one particularly memorable sequence involving a frankly disgusting amount of rats crawling over everything give the film its best moments. If nothing else, it will make you think twice about ever stepping foot in a drain again.
Unfortunately, once inside, the characters immediately begin doing everything horror fans scream at the screen about. Splitting up in a massive, pitch black building, wandering off alone, and reacting to obvious danger with the enthusiasm of people browsing a shopping centre. At no point does anyone seem remotely concerned that they are in a place where, according to the film itself, nobody gets out alive.
The group dynamic is a mixed bag. There are hints of something interesting in their moral code, they break in but do not steal, which at least separates them slightly from being completely unbearable. Diane and Rick act as the central figures, attempting to keep some level of order, while others like JD are more focused on the financial side of things, reminding everyone that none of this is actually paying the bills. It adds a layer of realism, even if the execution is not always convincing.
Things take a turn when a rival group, led by a particularly unhinged character, arrives at the hotel with the same goal. This second group leans heavily into chaos, bringing a level of unpredictability that the film desperately needs. There are moments involving reckless behaviour and outright madness that at least inject some energy into proceedings.
Then there is the horror element, which feels like it turns up late to its own film. A supernatural presence tied to the hotel’s past, involving rituals and vague lore, is introduced but never fully explored. The creature itself has an unsettling design at times, resembling something pulled from a cave nightmare, but it rarely delivers genuine scares. Most of the tension is undercut by quick cuts or a lack of proper build up, meaning the film struggles to ever feel truly threatening.
Technically, the film sits somewhere in between polished and oddly artificial. The cinematography looks clean, almost too clean for a horror film, while the editing occasionally leans into a fast, almost social media style that does not always work in its favour. It gives the impression of a film trying to appeal to a younger audience, but not quite understanding how that audience actually engages with content.
Do Not Enter – A Watchable Missed Opportunity
Despite all of this, Do Not Enter is not a complete write off. There is entertainment to be found in its chaos, its ridiculous decisions, and the sheer commitment to its premise. It is the kind of film where you will roll your eyes one minute and chuckle the next, even if that was not always the intention.
At its core, it feels like a missed opportunity. The idea of urban explorers trapped in a genuinely terrifying location is a strong one, but the film never fully commits to being either a proper horror or a sharp satire of influencer culture. Instead, it sits somewhere in the middle, never quite reaching the heights it hints at.
In the end, Do Not Enter becomes a film that is watchable, occasionally amusing, but ultimately forgettable. Much like the Paragon Hotel itself, it feels like something that could have been far more memorable with the right care and direction.
