By a desert road, an attractive woman is putting the finishing touches to her makeup and struggling to contain herself in a tight, red dress. With long hair and high heels, she is an embodiment of female sexuality and her placement here as a sultry damsel in distress is somewhat unlikely and subtly intriguing.
A car horn sounds and a man in shades offers to pick our damsel up. As the hitchhiker squirms coyly in the passenger seat before leading her driver to a public toilet, something certainly feels contrived and noticeably acted. It is with relief, then, that we discover this scene is of a couple acting out their sexual fantasy and it’s back to a white polo shirt and jeans for our roadside siren.

Unfortunately, the film can’t sustain this way of making bad acting look like it’s there for a reason and the opening scene is unique in presenting a spark of fun and romance between the two leads, a couple who barely interact throughout the duration of the film in ways other than evil glares and panicked squealing.

With a cast of models and more than its fair share of lesbian action, Siren has pulled out all the stops to get our attention. Yet despite its attempts, it comes across as a cheap horror which does little to draw us in. This is a real shame as it’s hard to believe in the overwhelming enticing powers of sirens when we can’t even be lured into seventy-five minutes of narrative.

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