Paul (Harry Treadaway) and Bea (Rose Leslie) are young lovers, newly married, and heading to her family’s cabin for a secluded honeymoon. She gives him the grand tour, they get to canoodling, and then the pair bed down for their first night as husband and wife. It’s not long though before Paul starts noticing things are a bit off with Bea on this trip. She forgets how to make breakfast and coffee, he discovers some weird marks on her legs, and he catches her reciting facts about herself as if to memorize them. The more he struggles to discover what’s going on the deeper she falls into this behavioral madness. It seems one of them may be reaching the end of their vows a lot sooner than expected. Honeymoon is somewhat of an economically-crafted thriller with its two leads, constrained setting, and bare minimum supporting cast, and all of that helps increase tension in moments of real intensity. Inexplicably though, the film suffers a major blow early on thanks to a premature plot encapsulation around the seven minute mark. Seven minutes in, and anyone with even a basic knowledge of genre movies knows exactly what’s behind the behavior and where all of this is heading.