This thrifty psychological thriller comes so close to realizing its mindfuck potential that if you squint just right while streaming it, it looks a bit like a cult classic.

Burns' script is just as concerned with the weirdness of Sarah's waking life as it is the literal monsters that populate her dreams, and the filmmaker's ability to balance and juxtapose those two portions of the film only strengthen each section.

By the end, you're just like "Well okay, that was that."

Unfortunately, Anthony Scott Burns chose to end Come True with a lazy, fatuous twist-for-the-sake-of-a-twist affront to everyone who’d just given him 100 minutes of their time.