Barker must have used a one wish willow at box office

May was the month of horror, shown through Kane Parsons’ surrealist “Backrooms,” the masterfully exercised genre conventions in Damian McCarthy’s haunted house story, “Hokum” and whatever “Passenger” was trying to be. Curry Barker’s “Obsession,” the current poster child of the genre, felt like a heavy-handed swing and miss from an underdeveloped and uninteresting filmmaker. “Obsession,”...