It Chapter Two

Twenty-seven years after their first encounter with the terrifying Pennywise, the Losers Club have grown up and moved away, until they must return to Derry and band together once again when their worst fear returns.

The massively hyped duology adapting one of Stephen King’s most beloved and terrifying novels comes to a close with It Chapter Two, following the mighty success of the first It. In the first film, a group of kids banded together and formed the Losers Club, using their camaraderie and their heart to defeat the being that feeds off their fears, but now that same being has returned and summons them back together as adults. The leading cast is great, including James McAvoy who shines as Bill, a fearless kid from the first film who led the group, though his on-and-off stutter make his performance slightly confusing. The standout was certainly Jessica Chastain who blesses the screen with her marvelous presence yet again, with her range, from joy to remorse to terror, all make Bev a standout character once again. But also worth noting is SNL alum Bill Hader in what’s definitely his best film role ever, playing the hilarious Ritchie who also gets more layers as the film progresses. Also impressive is Bill Skarsgard as Pennywise, although this time around, he has less moments to strike fear into audiences again.

It Chapter Two‘s main strength definitely lies in its cast, as well as the theme of how being together is what helped these people become their best selves and overcome their fears. However, where Chapter Two stumbles is finding merit outside of what viewers already learned in the first film. There’s a lot of flashbacks to the Losers Club when they were kids, but above that, it seems like Warner Bros. felt like they kept having to remind us what the first movie was about, resulting with the pacing being dragged down with repetitive scenes of Pennywise taking advantage of each individual member through their fears — both through flashbacks and present day scenes. Of course every character needs layer, but extending the runtime so long to the point where they had to bring back nearly every plot point from the predecessor feels unreasonable and tiring. The movie keeps treading this same ground for a while, reminding us for too long about the character relations, arcs and events from the first film, until it ultimately becomes a rehash of that movie. It brings back every character including an irritating side character who we thought was gone for good but wastes screentime here with an awful performance. Above all that, there are less horror scenes that will catch the viewer’s attention, although a very note-worthy scene is a terrifying moment in a mirror maze that I cannot spoil.

When the climax finally arrives, it takes place in the exact same location as the first movie’s final standoff, has the exact same “villain tactics” or obstacles as last time, and ends with the same theme yet an even tackier resolution. There’s also an awful subplot thrown in about a ritual that must be performed, and it goes too deeply into the origins of “It” instead of subtly dropping hints that would leave us guessing. There’s a moment in the film where an old woman tells Bev that her “father joined the circus” — the camera then pans up to a picture of a man in the early 1900s near a sign that says “Pennywise” — this is a perfect example of planting small clues about It’s origin, but it didn’t need to actually reveal the whole deal to us, which slightly undermines the mysteriousness and threat of the entity. What director Andy Muschietti unfortunately did not understand is that less is more, when it comes to storytelling. On the contrary, this film becomes unreasonably long and repetitive without finding as much of a purpose or effect as the first did two years ago. If this one didn’t feel the need to be as long as The Hobbit or Interstellar I could definitely see a slightly more effective story coming out without forcing the audiences through too much of the same thing over and over again.

It Chapter Two feels more like an epilogue to the last movie than a sequel or its own film. There are certainly some touching themes and great cast members — especially the wonderful Jessica Chastain and the hysterical Bill Hader. However, there are definitely less memorable horror moments for the general audiences, but worst of all, Chapter Two fails to justify itself as its own film, rather borrowing all the ideas from the first film and saying, “this is how they deal with this stuff, but this time they’re older!” I was definitely looking forward to this but looking back now, the first It certainly holds up just as well as its own story, and this may just be another case of Hollywood stretching out existing franchises beyond a breaking point. Perhaps this follow-up would have worked better if it was actually released 27 years from now, where relying on nostalgia from the first film to craft another crowd-pleasing success may had actually worked instead of just remaining a myth inside of the Warner Bros executive’s heads that makes a for an often tedious and familiar three hours.

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Pet Sematary (2019)

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Dr. Louis Creed and his wife, Rachel, relocate from Boston to rural Maine with their two young children. The couple soon discover a mysterious burial ground hidden deep in the woods near their new home.
This latest adaptation from a work of genius author Stephen King proves to be a missed opportunity. The trailers teased something dark, unpredictable, and memorable, but what we got instead was a terribly written film with poor direction and no attempt to fulfill any promises it sets up. The film has some nice atmosphere building in the start, but ultimately falls into too many horror cliches, like the family moving to a new place for a “fresh start”, and the older, wiser, “exposition dump” character who conveniently knows everything. The marketing not only gave away every surprise there as about the movie, but made me believe this would be a brutal and unsettling horror film. Unfortunately, there are few truly scary moments and every important death happens either off screen or too dramatically to be taken seriously and emotionally. Jason Clarke’s acting never stands out, and he’s an actor who’s unfortunately found himself stuck in the limbo of playing the boring characters in reboots, and like I said, John Lithgow is just there for exposition purposes. There’s also an arc for the female lead which becomes super repetitive and involves unnecessary flashbacks that provide the only possible scares this movie had. There’s also some aspects, like a frightening opening hinting at a cult of some sort or more resurrected animals or people, but this buildup ends up leading nowhere. Pet Sematary ultimately becomes frustrating in its climax and I was happy when it was over. It unfortunately fails to dodge any cliches of the genre and misses out on any emotional response it could have gotten out of its audience, which is disappointing because I had hopes for this one. You’re best off watching the trailer and leaving it there, because the 2-minute teaser was far more entertaining than the actual film was. Let’s hope the King adaptations improve when It: Chapter Two and Doctor Sleep are released in the fall.
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Us

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This horror film follows a family whose summer trip to a beach house is interrupted when a family that looks exactly like them shows up at their door.

Jordan Peele follows up a victory with another one that should be praised for its own reasons. Though it’s a very different film than Peele’s Oscar-wining horror film, Us is an all-out nightmare that will get under your skin like no other mainstream film ever has. Not only is it more frightening than most horror films, but it’s so meticulously crafted and strongly directed by Peele, who make his care for characters and root for them to survive within an instant. From the very first shot of a girl watching television, Peele already plants clues for what’s to come, followed by an opening credits shot that’s simple but will give you chills. He wonderfully builds every shot to contain mystery and intrigue, that will make you never stop guessing what will happen next. He builds shots hide and show certain things and wonderfully makes the doppelganger characters frightening antagonists for the viewer. Lupita Nyong’o delivers two main performances that feel very different but both are spectacular in their own route. She convincingly acts terrified in many instances, but also changes her voice and achieves many feats in numerous scenes tin which she will blow you away. The violence is uncompromising but a blast to watch if you can watch graphic imagery without flinching, as the fight for survival is always thrilling and unpredictable. However, there’s also great moments of comic relief thrown in there, which delivers while still feeling like a full-on horror film. But above all the fright and entertainment, there’s some true shock thrown in, especially towards the end. Peele leaves the message and themes of the film open for discussion, as opposed to more obvious racial commentary in Get Out , while the meaning of Us will be debated for years. Not to mention a plot twist that will go down as an ending for the ages.

Jordan Peele has not let down expectations and is an established horror genius here in Hollywood, promoting true originality and terror in his films. With strong writing and acting, as well as plot devices and themes that can be analyzed for years to come, there’s so much to say about this new horror masterwork that I’d rather not ruin and let you discover for yourself.

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Halloween (2018)

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Forty years after she was attacked by a masked killer, Laurie Strode prepares for the return of Michael Myers so she can end his murderous carnage once and for all.

After several sequels that were poorly received by critics and audiences alike, the most recent film in this slasher franchise retcons all the sequels’s continuities, disregarding them and acting as a direct sequel to the 1978 classic. The movie delivers on the promise of intense sequences elevated by the frightening presence of Myers, and effective tension throughout these horror scenes. The blood and gore is also fittingly strong to amplify the fright of a masked murderer coming after these characters, with some nice cinematography and tracking shots as well. However, even though it’s quite entertaining to watch, most of the jump scares are pretty predictable and a lot of these scenes fall into familiar tropes. Jamie Lee Curtis reprises her role and does a terrific job as Laurie, bringing a layered character to the screen in every scene she’s in. The aspect that hasn’t been seen before is the PTSD Laurie faces and how she’s willing to go to far lengths to prepare herself and her family for the inevitable return of her greatest fear. The way Curtis portrays a woman affected by an incident even decades later and how she’s always looking over her shoulder, ready to bravely face the villain of the story is done very strongly. If only the movie focused more on her, as lots of the film cuts to uninteresting side characters that don’t serve a purpose to the main story and aren’t portrayed very well. Sometimes the movie doesn’t stick true to the promise of being the story of Laurie facing Michael one last time and instead focuses more on developing character who do nothing other than fall victim to Michael’s killing spree.  The plot also basically follows the structure of the original and we can tell what the final showdown will be like even before the movie begins. Halloween has plenty of fun scares and effective violence that will entertain horror fans but it borrows too much from the structure of the first film and doesn’t try much that’s new from the overall horror movie formula, and could’ve used more focus on its compelling protagonist.

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Hereditary

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After the death of her mother, Annie Graham must shield her family from the psychological and supernatural demons she believes she’s inherited from her mother.

A24 continues its streak of truly disturbing, frightening, and upsetting movies that redefine the horror genre as we know it. This movie has a layer of terror that no other horror film I’ve seen lately has offered. Not only does it offer scares, but the emotional depth and damage the characters have is the most terrifying part of it because it feels more grounded than what comes later. What’s so disturbing about Hereditary isn’t just the supernatural aspect but also everything that our characters are already put through before, which could be a tragedy on its own. Ari Aster does a terrific job creating suspense and placing the camera in creative angles, without using too many cuts within scenes. He also elevates tension with effective use of music. He writes a nightmarish family drama that escalates into screams, visions, and paranoia in nearly every scene. You can never tell what will happen in the movie, from a scene in the first 30 minutes that’s so unthinkable and disturbing it makes your jaw drop. Toni Collette is not to be ignored in her deep and unsettling performance as a woman dealing with grief and loss, and her character acts somewhat insane at some points, but Collette’s performance is believable enough to be taken seriously and she brings chills down the viewer’s spine in some scenes. There are some truly terrifying sequences that will have your heart racing and some gory imagery, and I should warn you that if you don’t like gore or slower, less conventional horror movies, then you should probably stay away from this one. This movie has strong psychological fright and themes about grief and broken families, but I feel that the ending decided to go more supernatural and I hoped for a more emotional blow that stuck true to the themes rather than the scares, like most A24’s horror movies have done. Other than that, Hereditary will live up to the expectations of those hoping for scares, but it’s also got the depth that fans of the studio will be looking for.

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A Quiet Place

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This apocalyptic horror film focuses on a family who is forced to live in silence while hiding from creatures that hunt by sound. Starring in the main roles are John Krasinski (also the director of the film) as the father of the family, and Emily Blunt (his real-life wife) as the mother. With A Quiet Place, Krasinski not only crafts a great edge-of-your-seat thriller with plenty of scares for wide audiences and horror fans to enjoy, but also makes excellent use of suspense with the sound, directing, and acting. Every noise is made to feel loud enough to pose a threat and surprise us at certain moments, and the sound editors knew very well which sounds they needed to make louder than others and how loud each sound needed to be. The tension is built effectively in every scene, as we get character development with each member of the family while the danger around them quietly builds. Small moments like a lamp falling and breaking or a toy making a sound will frighten you, and whenever it gets too noisy you’ll even start getting stressed just by the thought of what what be about to happen to our characters. None of the intensity feels fake and you’ll definitely be as anxious as the characters in some of the most scary scenes in the film. Krasinski and Blunt are both splendid as the parents; Krasinski’s character clearly showing fright but also leadership of his family through the everyday hours and protecting them with everything he can. His love for his children is the strongest part of the film and his acting is always spot-on. Blunt also can’t be ignored; she’s a fearful and also protective mother who demonstrates pain and terror excellently.

A Quiet Place is not only a great showcase of acting and directing but doesn’t forget to be an entertaining horror flick; you don’t have to worry about this one being too boring or stretched out even though most of the film is in sign language rather than spoken dialogue as the device the family uses to survive against the creatures. The visual images are always conveying of the conflict and emotions the family faces, and we though we never see too much about how the creatures got there or what’s going on in the rest of the world, that’s what makes everything more mysterious. My one problem is the ending, which though I didn’t have something strong against, I feel the ending had a more light and even comedic feel to it, and I hoped it would’ve stopped at a place a little more powerful, like the rest of the film. Otherwise, horror and science fiction fans won’t bed disappointed by this short but noteworthy thriller that won’t fail to keep you thrilled and entertained.

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Annihilation

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A biologist joins an expedition into a mysterious zone called The Shimmer, full of mutating landscapes and creatures that threaten whatever enters it.

Natalie Portman leads the cast of this ambitious sci-fi feature from Ex Machina director Alex Garland. This corner of the sci-fi genre is one of my favorite types of films because they’re often the most shocking and thought-provoking. i like to watch science fiction movies not just for excitement or satisfaction, but to be surprised and to think about what happened. Ex Machina was a smart cautionary tale about how scary a future with artificial intelligence may become, and Annihilation is much more complicated than just having a single theme like that. However, it’s a good thing that a movie is trying to be more intellectual, although Garland’s refusal to alter the film to make it more pleasing for mainstream viewers cost it its theatrical release overseas, so if you don’t live in North America you’ll only be able to see this on Netflix, which is unfortunate because this movie is a gorgeous theater experience. Portman is exceptionally deep as Lena, who leads a great cast along with Jennifer Jason Leigh, Gina Rodriguez, Tessa Thompson, and Oscar Isaac. The way Portman expresses her feelings such as fear, uncertainty, and agony serve the character very well, and also noteworthy is Isaac as her husband. Annihilation is what people may call classic sci-fi, as it does have the buildup, clues, and mystery until there’s a final twist reveal, but I personally don’t think I’ll ever get tired of these films because of how many questions they can raise and how puzzling they can be but still intrigue (like the bizarre but fascinating Cloverfield franchise). People can draw comparisons to Arrival, and I think that one is a far superior film to this because it doesn’t just talk about the sci-fi concept it introduces but also presents more layered themes about humanity that don’t just belong in science fiction, not that this one doesn’t have any of that. Annihilation definitely has a lot under the surface that I still have yet to discover but I’ve been thinking a lot about it ever since I saw it and I remember sitting quite shocked in the theater as the credits rolled. Some of it doesn’t completely add up, including some subplots and details that weren’t fully realized but that doesn’t stop this from being a worthy experience. Don’t go in expecting anything because the story takes many unexpected turns and has some visually marvelous sequences, as well as a spectacular musical score, but though it has a horror scene here and there, don’t expect too many answers right away but a lot is left open-ended for the audiences that aren’t mistaking this for an Alien or Predator-style film.

Annihilation presents marvelous visuals and style, as well as questions that sci-fi fans will love to discuss, with Natalie Portman giving it her all, and though Alex Garland encountered some problems with the international release of this film, he has nothing to apologize for and should continue making smart and unique science fiction like this, because these are really the films we need to remind us how intriguing science fiction cinema can be.

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The Killing of a Sacred Deer

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Steven, a charismatic surgeon, is forced to make an unthinkable decision after his life starts to fall apart, when the behavior of a teenage boy he has taken under his wing turns sinister.

I’ve seen many movies over the years that dare to do something different, that have an unconventional style or method of storytelling and challenge the mainstream audience in some way, but nothing has compared to the pure insanity that I witnessed watching The Killing of a Sacred Deer. There is no film that you can call similar to this movie, because everything going on in this film is so unprecedented and different than what we’re used to seeing in film. The opening shot alone convinced me how messed up and different this movie would be, and this film is effective in its thrills and scares like no other horror/thriller movie could. There are no jump scares or supernatural threats, most of what is going on would have seemed completely normal if Yorgos Lanthimos had not directed it. He directed probably the most bizarre film I had seen before this one with The Lobster (which got him a screenplay Oscar nomination, and I hope he gets another for this), and his style is notably dark, unsettling, and uncompromising about the worst of humanity. His cinematography is gorgeously in unexpected places and he breaks the rules of how every other director chooses to place their shots. No filmmaker has been quite this daring since Stanley Kubrick, and you can even draw similarities to his work The Shining, with the symmetry and tracking shots that are used. The music is also beautiful and loud and promotes the tension and uncomfortably even further. With The Lobster, Lanthimos was able to create a dark and painful yet funny and satirical dystopian indie, and here he takes all those elements and kick them up a notch to create one of the most horrifying, tragic, and powerful horror movies I’ve ever seen. If you go in expecting a typical horror, thriller, or even an art movie that is slightly challenging, you will be unprepared for the unimaginably gruesome imagery, terrible decisions made by the characters, and the dilemma the main character, portrayed brilliantly by Collin Farrell in a career-best performance, is facing, which is a shocking journey Lanthimos invites you to take.

Despite Farrell’s great acting in the lead role as a rather friendly family man whose past returns to haunt him, the film is stolen by Dunkirk‘s Barry Keoghan, who plays a psychotic teenager named Martin with terrible morals, who makes Colin Farrell’s characters life a living hell. Nicole Kidman is also great as Farrell’s wife, but all the film’s most awkward and horrific moments are thanks to Keoghan. There is a chance that you will dislike this movie, as some even walked out mid-film in disgust, because the humor is dark and odd and the story is so pessimistic yet so thrilling and inviting that I somehow was able to love it. The unorthodox filmmaking and techniques used in the film are used to elevate the feeling of distress, and the fascinating plot and dialogue feel so off yet so intriguing. Lanthimos knows that what makes a good horror movie isn’t showing the audience fantastical creatures such as zombies or ghosts, but by showing the audience the worst that could happen in real life — a character with a Sophie’s Choice-like dilemma, a teenager with a tragic past and a messed up mind , and characters with desires and sexual interests that are so uncomfortable to dive into, which is how it gets so deep under your skin. We feel like these characters could even be someone we could one day know, or these events could be real-life nightmares, and that’s what makes the grotesque content even more elevating in this hideous but poetic thriller. The plot takas es many dark turns that we are constantly invested in — unless you have been grossed out by the film’s disturbing moments and themes too much, that is — leading up to a gut-wrenching climax that had my heart pounding, which results tragically and leads to a magnificent final scene that will have you shocked beyond when the screen cuts to black and the title is shown. A24 is known for releasing films that are very odd and difficult for some audiences to love, but this is on a completely new level of weird and puzzling, and even beats the strongly allegorical, disturbing, and divisive mother! as the most unusual film to be released in a long time.  Many audiences will hate the macabre and sickening violence and the weird and dark humor, and that’s completely understandable, as it’s definitely not for everyone, but I have never been more invested and emotionally attached to a thriller movie in a very long time — a truly eccentric film that refuses to lighten up but I personally loved, with the powerful emotion and uncomfortable horrific feel adding so much to the suspense.

Yorgos Lanthimos has made a film for only the most patient and daring moviegoers, and although some viewers may believe that only a human as sick as the antagonist Martin could enjoy such a movie, but this thriller, that won multiple awards at the Cannes Film Festival in May, is simply groundbreaking and unforgettable — but only in the good way for some, so be cautious, because you may boo out of horror and disgust or cheer in awe and break into applause — both reactions were received by the film at its premiere. I can’t recommend this complex, bizarre, and shocking psychological thriller for everyone, but in my opinion, it’s a masterful film that has resonated with me and stunned me like hardly any other film out there, and hopefully there are many out there who believe the same.

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Mother!

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Mother! is a film in which a happy couple (Jennifer Lawrence and Javier Bardem) living in a house surrounded by woods, are met by uninvited guests in their house, which leads to chaos and turmoil in the house.

If you expect a horror film or a thriller from this, you’ll be let down because this film is much more than that. You can’t put this movie in one genre, it starts as a psychological thriller, with the tension that builds up continuing to intrigue and confuse as you wonder, just like Jennifer Lawrence’s protagonist, what could possibly be happening. Lawrence is absolutely brilliant in the film, showing plenty of emotion and vulnerability as an innocent woman going through a nightmare. She was perfectly casted in the role, and so was Bardem as her character’s charming but complex husband, and Michelle Pfieffer, Ed Harris, and a few other well known stars are good as well. The cinematography is shot on a rare 16mm format which is very appreciable as it’s rare to see movies not shot on film nowadays, and the movie is always either shot from Lawrence’s perspective or with her in the frame. I liked the creative technical style of the film, which also includes the use of zero music throughout the entire runtime, helping establish more intensity. There is lots of imagery that’s never quite explained or revealed and the movie becomes more mysterious and you can’t wait until everything is explained. There is a lot that audiences may enjoy, and then the film switches things up and goes insane during the final act. This last act is the reason many audiences have criticized and polarized the movie. Many have hated it for the disturbing content it displays in the climax, and the allegorical narrative it offers. The ending is quite ambiguous and does betray the genre of the rest of the film, but it’s fascinating how weird it is and how differently everyone can interpret it. I expected an ending that would stay true to what the first two acts offered, and some stuff did bother me on how confusing it turned out to be, but director Darren Aronofsky had an interesting vision and strong passion to make this, and it’s getting people to talk about it. I overall liked the film and appreciate how daring and different it is, but it’s definitely not for everyone, as it’s metaphorical themes and gory content will frustrate many.

Mother! is the weirdest, craziest, most different and least mainstream movie I’ve seen this year. Many have loved it and many have hated it, and I can’t recommend it to everyone because many will be disturbed and disappointed, but the acting, directing, cinematography, tension, and ambiguity make this an insane yet special film to be released in 2017, with many different meanings that it could potentially posses.

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It Comes at Night

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It Comes at Night is a film you should go into knowing as little as possible, so I’m sorry but I can’t discuss the plot. It’s such a divisive film that you can’t go in with a single expectation. It’s the kind of film that challenges all audiences with its horrifying imagery, intense and surreal filmmaking, and it’s ambiguity. It’s being marketed as a horror film but it’s hard to fit it in a genre. It’s definitely not a horror film, it’s a psychological thriller more than anything. It’s a film about fear, hopelessness, darkness, sadness, and paranoia, but it’s also a film about love, family, and protecting what you love. This makes for such a powerful and unique story piled into an hour and a half of pure terror and suspense. The title does not suggest a supernatural threat yet a mysterious psychological threat that is never really revealed. The acting from the five main actors, Joel Edgerton, Christopher Abbott, Carmen Ejogo, Kelvin Harrison Jr., and Riley Keough, is an a higher league than any of the film performances delivered this year. Each of their character’s lines and physical reactions are incredibly realistic and brilliantly scripted. Edgerton especially brings depth to a protective and strict but loving father and husband who will protect his family at any cost. Harrison is also especially talented, with his performance as Edgerton’s character’s son being outstandingly fascinating with plenty of believable emotion.

Director Trey Edward Shults knows how not only to use dialogue and actions to the story’s advantage, but also using slow camera movements and cuts to create tension. He makes every shot last long and advance slowly, and every shot feels so crisp and edited so well. Shults also loves experimenting with the film’s aspect ratio, making it smaller as the tension increases during certain scenes. It’s cool in the first few times this is done, but during the climax, the smaller aspect ratio was distracted from the terrific acting and writing in that scene, which were made harder to appreciate during that scene because of that editing choice. We’re often given shots that may or may not represent dream sequences, and you’re left to think about whether those shots were dreams or really happening. Despite how pessimistic, dark, and saddening the film may seem, it’s also somewhat about the love of family. All the characters aren’t without their family, and they all care about nothing more than their family. When a character makes a horrific decision, you can somewhat understand what their motives were because of how fleshed out all these characters are. This is a film about how fear and paranoia can be the true villain and can dominate over us sometimes. The final shot is deep, moving, quiet, powerful, and extremely haunting at the same time. Lots of it is left unanswered to be ambiguous and left for the audience to think about, which is what has made this film receive backlash from audiences. Audiences have been unsatisfied with the film’s ending, which I will not spoil in this review. It Comes at Night is so different than what we usually see in theaters, and people just want to watch the same robots, monsters, superheroes, and ghosts over and over again. This is a film that does something unique: It leaves you with zero exposition in the beginning, and almost no explanation of how the film ended. The lack of exposition did not bother me at all, as it is easy to assume what is out there and what conflict the main characters are facing, but we are never told why they are alone and what is making everyone sick. Giving us only the same amount of information as the characters is such a clever choice that builds even more fear throughout the film’s runtime. The choice to make everything in the end ambiguous has mostly been criticized about the film, but I think that the way lots of things are left for interpretation at the end is just far more haunting and majestic than if everything was answered in the end. The film is not treated like a movie, with a regular formula and closure in the end, but another chapter in the main family’s life, and a reflection of the real demons inside us, not paranormal demons like many would expect from a film like this. This movie is being loved by critics but panned by audiences, and has only made $6 million dollars at the box office. Please don’t let It Comes at Night be a failure, and go see it in theaters. It’s so much better than any superheroes, pirates, mummies, aliens, talking cars, comedies, or biopics out there right now.

It Comes at Night is by far the best film of the year. It’s dark, violent, chilling, and unsettling, but it’s more beautifully made and incredibly acted than any other movie this year. Audiences have been divided by its misleading marketing and title, as well as its ambiguous ending. But I promise you, It Comes at Night is a masterful work of art worth paying for. Whether or not I’m worth trusting is up to you, but I implore you, before you judge the film based on any trailers or reviews, go see it for yourself.

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