In undertone (lowercase stylized), sound is a monster. First-time feature writer and director Ian Tuason tests the limits of nerve-shredding tension by tweaking an old adage: hearing is believing. Like 2022's Monolith or, to a lesser degree, Pontypool, Tuason utilizes audio clips and over-the-phone conversations to unlock what hopes to be fresher, sonically frightening realms. […]