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Review by FilmmakerLife

Written and directed by Tari K. Robinson, ‘Skulker’ is a 2023 horror drama short, starring Liyah Chante Thompson, Isoken Obaseki and Kari Forero.

Liyah Chante Thompson plays Detective Madison Johnson who is on the hunt for a killer after a slew of dead bodies begin to turn up in her suburban town. As she settles in and starts to dig deep, Madison is perplexed to find no credible leads. But she is missing something that is right before her and as the reality of the horror sets in, Madison will soon find herself in a battle for her life. Will she win or will this horrific evil take over? 

Tari K. Robinson’s ‘Skulker’ meshes police procedural with some good old-fashioned monster kills to make a film that is the best of both worlds. The performances are exciting and the slow bait that the creature patiently formulates around the detective is fantastic. The detective knows in the back of her head that she is gradually sinking into a trap, but will she find out in time? Her first mistake will lead her down a slew of bad choices as she ends up in a violent and bloody battle for survival. Part of what makes the film work is its simmering escalation that ups the ante gradually until its violent conclusion. 

Liyah Chante Thompson as Detective Johnson is perfectly cast as she brings to life her charming and wide-eyed policewoman. There is an innocence to her character and her desire to go the extra mile will usher in her doom. Equally impressive is Isoken Obaseki as Detective Joanie Richards who brings out the devil may care attitude in her character with ease. Robinson’s script fleshes out the moral conundrum of the story well and the cinematographic choices complement the fantasy horror genre of the story very well with each shot of the film exuding extreme care. Equally impressive is the score, which combines the feel of terror with desperation flawlessly. All in all, the film displays technical mastery and is better than most comparable shorts. 

Scary, superb and packing a solid punch, Skulker is a film that one wishes should have been a feature instead. From the direction to the cinematography and from the script to the performances, everything comes together nicely in Tari K. Robinson’s ode to the horror genre. We cannot wait to see Tari K. Robinson tackle a horror feature next and we are reluctant to give this film any less than five out of five stars. 

Cast / Crew

Tari K. Robinson
Tari K. Robinson
Tara D. Robinson
Liyah Thompson, Isoken Obaseki, Sofy Barahona, Noelia Taveras, Kari Forero, Mahi Shriya Kamal, Crystal Jasmin, Eeyana Torres, Rachel Harris, Diggy Owens Robinson, Rilley Jacob
Director of Photography :
Jamaal Scott
T&T Management and Production LLC and Tari K. Robinson
Justin Corn and Tara D. Robinson
David Fesilyn


Crime Drama/Thriller

About the Director

Tari K. Robinson is CEO and President of T&T Management and Production. Her script writing and production experience dates back to the early 1990’s. While living in Hollywood, she worked alongside established scriptwriters for such shows as The Fresh Prince of Bel Air and Fox’s True Colors. She has produced and directed many productions over the decades, including a teen soap opera, a children’s variety show, a reality show, documentaries and numerous short films.


Photo Gallery / Video


Detective Madison Johnson is determined to solve a rash of grizzly serial killings baffling the City.
Skulker poster
“Scary, superb and packing a solid punch, Skulker is a film that one wishes should have been a feature instead.”


Raphael Xavier’s direction is on point. Xavier allows the main character room to grow as he keeps the narrative pacing on track, ensuring there is not a single dull moment in the entire film.
Arthur expertly utilises the cinematic tools at her disposal to bring this story to life as she takes the audience down a rabbit hole of the supernatural.
Michelle infuses a sense of wonder and originality whilst showcasing the abuse women have suffered throughout the years in the supposed name of love.
The only spoken word in the entire film is the voiceover which is a poem. Since this is a poem- film hybrid, the decision to forgo dialogues work very well. Each stanza of the poem works its magic upon the visuals, helping convey a deep sense of meaning and wonder. At the same time, the words of the poem linger on in the mind; there is something about them that hits deep and hits hard.
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