That's the superficial starting point of The Gift, the directorial debut of actor Joel Edgerton, who takes the cuckoo-in-the-nest thriller template – which became ubiquitous in the early '90s with films like Pacific Heights, Unlawful Entry, Single White Female and The Hand That Rocks the Cradle – and, by introducing psychological depth and a streak of social conscience, fashions an intriguing morality tale.
The "platonic friendship" brand of fatal attraction thriller is typically reserved for films with female leads (think Single White Female or The Roommate ), so the "male-on-male" obsession in The Gift is an interesting twist on the formula.
It's also a throwback to the sub-genre sometimes known as the "intimacy thriller", which flourished in the late 1980s and early '90s, the era of Fatal Attraction, Single White Female and Cape Fear.
To describe much more of the plot would be to rob the viewer of one of The Gift’s many pleasures—its constant ability to surprise—but suffice it to say: Edgerton begins by hitting all of the beats familiar to fans of Fatal Attraction, Single White Female and their countless imitators, but it becomes obvious early on that he’s not going to play by their rules.