“I See You” (2019) Movie Review

See this spellbinding enigma! I See You is a beautifully and cleverly crafted horror-adjacent psychological thriller that combines the horror of a People Under the Stairs urban legend with the police procedural stylings of SE7EN and Along Came a Spider with Lynchian influences. An official selection at last year’s South By Southwest Film Festival, this movie is now included with Amazon Prime and available on other streaming services. Even since movie theatres had to close in the wake of COVID-19, I have been struggling to identify films to watch for purposes of a formal review. While selecting rewatches and select new watches for pure entertaining and passing the time has also been a struggle, I meet with a paralyzing indecisive quandary when browsing VOD selections for a film to review. Perhaps I am in the minority on this, but I depend on theatrical releases for structural, filter, and priority purposes. But after not releasing a new article last week, I knew that I needed to watch and review something. At the recommendation of a friend of my sister’s, I checked out I See You, and I am glad that I did! Starting out in a very Lynchian fashion with sweeping birds eye view camera shots over a sleepy, yet affluent hamlet, the seemingly supernatural tedious first act gives way to terrifying reality told through an enigmatic nonlinear narrative device in the second and third acts. To get into plot specifics would deprive you of the thrill of a first-time watch, but don’t believe everything you think you see in the film. Playing around with points of view, trauma, and the breakdown of a family, this film delivers the twists and turns you desire from a psychological thriller while concurrently delivering a depiction of what happens when trauma festers in the mind and soul without a constructive way of resolving it. In retrospect, some of the logic of the plot doesn’t quite make sense, and there are some elements that you simply have to chalk up to the suspension of disbelief. But the rollercoaster of a showdown finishes in a brilliant crescendo that feels like something that Wes Craven and David Lynch would have written together.

Strange occurrences plague Greg (Jon Tenney), a small town detective, and his family as he investigates the disappearance of a young boy whom appears to be the victim of a copycat serial killer. With the specter of a man sent to prison that may have been innocent, Greg is also dealing with the recent affair of his wife Jackie (Helen Hunt) and the unbridled anger exhibited by his son Connor (Judah Lewis) over his mother’s affair.

The nonlinear plot of I See You employs Hitchcockian misdirection with subjective vantage points and audience expectations versus reality. Quite the brilliant combination for a psychological thriller. After the diegetic catalyst of a young boy being violently ripped from his bicycle–literally thrown into the air–sets the melancholy, ominous tone for the movie, the first and second acts of the film tell the same story, but from two different perspectives. The malevolent force witnessed in the opening scene seems to follow audiences to the unnerving confines of the Harper house that is spatially large, but an ominous presence takes the palatial house and makes it feel like a prison. In retrospect, the breadcrumbs are all too obvious; however, many of these conspicuous clues go unregistered by the audience because of the more exciting prospect of a supernatural force at work. I appreciate how the main action and subplot compliment the themes of reconnecting with estranged family members, guilt, resentment, and trauma. Moreover, the search for the missing boy parallels Jackie’s search for her estranged son whilst dealing with her ideal family image hiding dark secrets.

During the first act, we receive a great deal of exposition; fortunately, the subplot backstory of Jackie’s transgression (which we learn is a recent affair for which she is genuinely remorseful) is delivered primarily through dramatic character reaction and supplemented with dialogue. While the familial drama provides a tantalizing subplot, it’s the search for the missing boy believed to be the victim of a sadistic pedophillial copy cat serial killer that is the main action plot of the film. And the backstory for the action plot is creatively delivered through the police procedural headed by Greg. We learn everything that we need to know in order to understand the plot in the first few scenes. While some of what we learn is intentionally designed to misdirect our attention–think of it as a magician focusing our attention on his right hand while it’s the left hand that is creating the magic–it is still valuable information that will all come together in the end. After the big reveal in the epilogue, everything that unfolded throughout the movie becomes even more sinister.

Over all, you’ll find strong performances by the three lead cast. The top-billed Helen Hunt, while starting out as the central character, quickly becomes a chief supporting character to Tenney and Lewis. However, she delivers the strongest performance out of the three. Not that the other two do not command the screen, Lewis is able to showcase his acting chops that provide evidence that he is shaping up to be a diverse actor capable of the young adult comedy of The Babysitter and the shocking anger of his character in this film. Screenwriter Devon Graye and director Adam Randall demonstrate an outstanding comprehension of story craft that simultaneously embraces horror/thriller tropes and subverting the genre expectations. Creatively expressing the story for the screen is the stylistic cinematography that effortlessly switches modes from subjective to objective without disorienting the audience. The editor takes a page out of the David Fincher color pallet and technique to showcase the neo-noir tone of the film. Editing is one of the most undervalued technical elements in a film–undervalued by the general public–because the best editing is the kind that doesn’t become a spectacle but supports the narrative by communicating the plot and emotion of the story. Communicating the unsettling tone and shocking moments in the film is first-time composer William Arcane. From the writing to acting to the technical elements, this film provides a highly entertaining, and at times terrifying, story!

I See You may not be for everyone, but the intended audience will definitely enjoy it! The types of people that will enjoy this most are those whom already enjoy the non-supernatural Lynch, Craven, Hitchcock, and Craven movies. With the nonlinear storytelling, there was such a possibility of failing in the execution, but director Randall crafts an excellent thriller that will have you wanting to rewatch it to see all the clues you missed before. Even though it is definitely rewatchable once, I do not feel that it is the kind of movie that will be continually rewatchable through the years. However, it is certainly a solid selection for your enjoyment, especially if psychological thrillers are your thing.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in the Tampa area, feel free to catch a movie with him!

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“A Simple Favor” full movie review

Sleek, stylish, sexy! The best “lifetime movie” ever. Either the marketing of this film was the most misleading or the most brilliant! And yes, I truly believe that lifetime movie is a legit subgenre of suspense. Dark comedy meets neo-noir in this fantastic movie. It’s twisted and fun! Thrilling and comedic, Paul Feig’s film engages in a delicate balancing act that required extreme precision to ensure that the film not make any movement, miss a beat, or gloss over a turning point that could have would up disastrous. Much in the same way Feig’s Spy struck brilliant balance between comedy and serious spy movie, he proves that he has the ability to replicate the approach. Gives me hope for the highly anticipated Spy sequel that rumor has is happening. But we will have to wait and see if that rumor comes to fruition. Containing solid performances from Blake Lively and Anna Kendrick, the film also comments on the mind games woman and mothers play with one another. In fact, A Simple Favor delivers some unconventional yet thought-provoking commentary on motherhood and parenting. For all the commentary in the film, it never tries to be preachy or dogmatic about how women and mothers should behave or treat one another. Various parenting styles are played around with in hilarious ways. While the plot may seem like a satire or parody of Gone Girl, there is enough that is different that is certainly feels like a unique movie. There is nothing accidental about how all the elements came together to give us a fantastic movie; everything is intentionally executed with extreme care in order to deliver a lifetime movie that is suspenseful and, at times, slapstick funny.

Be careful when you fulfill a simple favor from a friend. Stephanie (Anna Kendrick) is a simple mom who’s extremely active in his son’s school and runs a successful “mommy” vlog. Emily is the director of public relations for a major fashion brand and is never active in her son’s school. Through a series of unpredictable events, Stephanie and Emily become best friends, even though on the surface, they couldn’t be any different from one another. One day, Emily asks Stephanie for a “simple favor” to pick her son up from school because of a work emergency. It soon becomes clear that Emily is not coming home. And Emily then begins a investigation into the disappearance of her friend. After the cops get involved, the mystery takes a turn for the bizarre, and Emily must find out what happened to her friend and mother Emily.

Immediately, the opening stylistic credit sequence informs me that this is not going to be a typical murder-mystery movie. The title sequence reminds me of the same one Feig used for Spy. Amidst the angular single color designs are images of women’s fashion. One of the takeaways from the trailer was the amazing costume design and fashion in the film. Setting the tone for a sexy thriller is successfully accomplished in using this imagery. It’s a throwback to the style of the 1960s spy movies that featured women in killer attire that was absolutely perfect in every way. Much like in television, movies have largely moved away from artistic opening title sequences. What I love about a creative opening title sequence is that it can set the tone for the rest of the movie. Think of it as the cover art or preface of a book. Since this movie is based on a book, I like how the opening title sequence seems to be a manifestation of the cover or opening of the book. From the opening title sequence effectively communicating the tone of what we are about to watch, the opening scenes of the film inform us precisely who Stephanie and Emily are. Stephanie is almost a caricature of an enthusiastic crazed Martha Stewart mom juxtaposed against Emily’s high-fashioned, corporate power cynical mom who still loved her kid. Conflict should derive from character interactions even before the plot creates conflict, and this film gives us two characters that provide exceptional and comedic conflict right at the beginning. The characters draw you into the story. It is obvious that the characters were developed first.

Before we even talk about the commentary on motherhood, there is a lot to explore in the respective personalities of Emily and Stephanie. Each personality and worldview is incredibly unique. What isn’t unique between the leading ladies is the fact that they are both incredibly intense individuals. Stephanie pours her tenacity into her vlog and being a “perfect mom” whereas Emily pours her energy into her career and keeping everyone who wants to gets close to her at bay. While Stephanie is enamored with Emily, she misses some indicators that there is something not quite right with Emily. But because of her desire to be friends with Emily, Stephanie chooses to overlook Emily’s bizarre behavior. Behavior that would drive the rest of us away such as being taken advantaged of, belittling, patronizing, just to name a few. There is a scene in which Emily snaps at Stephanie for taking a candid picture with an attitude that could cut glass. There is something Emily admires about Stephanie too. Stephanie’s constant positivity and genuine authenticity. Qualities that Emily does not have. And Stephanie admires the hyper-sexualization of Emily. In many ways, what makes them different, actually complements one another. Yin and Yang.

Beyond the mystery of A Simple Favor, which I won’t explore because it would spoil the plot, there is a subtext of commentary on motherhood. Both are mothers, yet one of them is clearly the femme fatal. The film sets Emily up as the femme fatal from the moment she steps out of her Porsche in the killer suit and devilish stiletto heels, topped with a fedora directly out of a film noir. Stephanie is the poster-child overachieving mom with her volunteering, smart mom outfits, and baking. Each is essentially an extreme of their respective type of mom. The unconventional intimacy between Emily and Stephanie allows Feig to have the support for the dramatic shifts and turning points in the plot. Whether you may be a dedicated stay-at-home mom (which, can be a full-time job–let’s be honest) or a jet-setting corporate work-life balance mom, the pressures of motherhood (or more broadly parenting for all the fathers out there) can bring out the worst in someone. While day spas, laughter, makeovers, or a glass of wine on a balcony may be perfectly fine most of the time to provide relief from the stresses of parenthood, sometimes a mom (or dad) needs something a bit more engaging, tawdry, hair-let-down, steamy, and intriguing. Something that provides some much-needed disorder to keep things interesting. And that is precisely what happens in A Simple Favor. Instead of taking either extreme position from which to be a parent, perhaps the best answer lies somewhere in the middle. Don’t forget that even overachievers need to let their hair down.

If you enjoyed Gone Girl and Spy, then you will undoubtedly enjoy this brilliant thriller that is both suspenseful and funny. Paul Feig is proving that he can consistently walk that fine line between comedy and thriller or comedy and suspense in order to deliver films that take themselves seriously as both a comedy and a more serious work. Furthermore, Feig proves that he can provide an excellent platform for charismatic female actors to showcase the range of their talent. A Simple Favor delivers a plot that is simple yet contains many intricate pieces and surprise reveals. You will be completely engaged the whole time.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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“Searching” Spoiler-Free Full Review

Remarkably spellbinding! Searching takes the concept of “screen life” movies to impeccable levels. Although the concept of a film relying entirely on computer screens is not new, this is the first time that it has been executed perfectly. The first wide-release film to take this approach was 2015’s Unfriended, and it was quite the pioneer in its approach to essentially adapting Agatha Christie’s And Then There Were None, with the end result being pretty good. The following films to take the approach, including the more recent Unfriended: Dark Web, failed to tell a coherent story. Learning from the successes and failures of this cinematic concept of the past “computer screen” films, writer-director Aneesh Chaganty, along with co-writer/producer Sev Ohanian, crafts a suspenseful thriller that truly understands the power of the internet and how it enables and affects our actions. There is genuine emotion felt in this film. You will truly care about the lead characters and remain hooked for the entire film. Chaganty seems to have taken a page right out of the Alfred Hitchcock playbook for suspenseful storytelling that relies upon character development, twists of the everyday, and only use on-screen violence or graphic details to supplement the story. This tension-filled voyeuristic crime drama is successfully created–not through viruses, the supernatural, dark web or illegal activities–but through the mundane things we do everyday. Perhaps this film uses modern technologies to tell the story, but the soul of this film is brilliant old-fashioned suspense. And that solid foundation is why this film will do incredibly well.

Following the tragic death of wife and mother Pam, David (John Cho) and his daughter Margot are forced to move on with their lives, doing their best to cope with the loss of their loved one. Over the couple of years since his wife’s death, David and his daughter have drifted apart but still maintain a relationship. Loss of a mother and wife has a major impact upon a family. After Margot fails to return home after a study group session at a classmate’s house and repeated unreturned texts and phone calls, David fears that something terrible has happened to his daughter. When another classmate informs David that Margot never showed for a trip on which she was invited, David reports her as missing to the police. Detective Vick (Debra Messing) heads up the investigation into the whereabouts of Margot that immediately leads nowhere. Lead after lead leads the investigation to believe that Margot may have simply ran away. Convinced that his daughter did not run away, because of so many elements of the investigation not adding up, David turns to the one piece of evidence that was initially overlooked by the police, Margot’s laptop. Following the cookie crumbs left in the seemingly mundane websites visited by Margot, David begins to connect the dots that will hopefully lead him to what happened to his daughter.

No spoilers here. In fact, I urge those who have seen it to NOT spoil it for everyone else. In a manner of speaking, this film feels very much like Psycho must’ve felt when it was released. Hitchcock mandated that no one be allowed to enter the auditorium after the movie began; and furthermore, he insisted on an adherence to strict show times. In fact, much of how our modern cineplexes are run today are a product, in part, by the release of Psycho. The closest I will get to spoiling is informing you that there is an amazing twist ending. Just when you think the story is coming to a close, watch out! Taking what Unfriended (the original, not crappy indirect sequel) did well, and learning from what Dark Web failed to do, Chaganty’s Searching provides audiences with a fantastic experience visually, and anchors the plot with strategic, effective emotional beats.

The story is just as much emotional as it is visual. Possibly even more emotionally and psychologically-driven than the images the frame can capture. Whereas other films that rely upon what we do on our computers fail to have genuine, authentic characters, Searching depicts everyday, real life people doing what millions of others do. How often have many of us been able to talk to complete strangers about something that we are uncomfortable talking to our family or closest friends about? That is precisely what Margot does. Providing additional commentary on the mediation of society through digital media, Chaganty highlights our digital selves versus our actual selves. This is evident in the healthy social life Margot was leading her dad to believe she was experiencing; when in actuality, she was quite alone and simply focussed on school work and little else. David realizes that he didn’t know his daughter at all.

Previous “computer screen” concept movies pretty much involved never leaving the primary computer screen–easily becoming visually exhausting. Chaganty’s thriller chooses to switch from iMac, to iPhone, to PC (with Windows XP), to online news footage. These changes prohibit the setting from ever becoming too familiar or boring. The minor changes keep the senses heightened. Hitchcock earned his moniker by consistently delivering suspenseful cinematic excellence; and this suspense was executed with visual precision coupled with strong emotion. Chaganty very much patterns his modern suspenseful crime drama after the exemplary work of Hitchcock. Different from previous films using real-time on a computer to allow the plot to unfold, this film takes place over a week–closer to more traditional “movie time.” One may be inclined to conclude that the tension feel less intense because of not watching the plot unfold in real time, but that is definitely not true with Searching.

From the moment Margot’s missed facetime and phone calls fail to waken her father to the heart-pounding conclusion, the tension is in high gear. Hitchcock describes suspense as the having to do with the audience having sympathy for the characters and an intense need for something dramatic or shocking to happen. While the audience does not want something bad to happen to the lead characters, they are still at the movie in hopes that something terrible happens. Ironic, isn’t’ it? Much like Hitch delivered suspense through information, Chaganty does the very much the same with Searching. Another way Hitch delivered and ensured a suspenseful atmosphere in his films was having two important events happing concurrently. With David and Vick very much leading their own investigations respectively, we often experience this dichotomy. And Hitch is certainly famous for his twits, and this film contains some fantastic red herrings and twists to the tension-filled plot.

Presently in a limited release, with the film opening everywhere August 31st, Searching is a phenomenal whodunit build upon effective suspense and visceral tension. You will be glued to the plot and feel the emotional rollercoaster experienced by David as he searches for his daughter. Chaganty has proven himself through demonstrable evidence that he understands suspenseful storytelling. Because the film exists in the everyday world we live in, it may get you thinking twice about the degree to which your own life is mediated by technology. The social commentary in the movie also reminds us to be ever vigilant who we correspond with through live video and chats. For you never know to whim you are really speaking.

If you’ve enjoyed this article, be sure to check out all my past ones! You can search for a film by title to see if I’ve written on it. Don’t forget to follow my blog by clicking the blue button in the upper left!

“Murder on the Orient Express” (2017) Film Review

The classic Hollywood style mystery successfully pulls into the station. Grab your ticket from the box office and board the legendary Orient Express with this all-star cast. Kenneth Branagh’s adaptation of the timeless Agatha Christie novel is as bold and elaborate as Hercule Poirot’s famous mustache. Feel as though you are traveling aboard the famous transcontinental train as you attempt to put all the pieces together to solve the mystery right along with “quite possibly the greatest detective in the world.” Hollywood style movie mysteries are nearly a thing of the past, but Branagh stokes the fire in the engine of the once popular genre and conducts an exciting journey through the classic whodunit plot. The film’s namesake is a novel that has inspired so many mystery novelists, and hopefully this film inspires a new generation of filmmakers to create their own movie mysteries fit for the big screen. Because the 1974 version including a cast ranging from Ingrid Bergman to Anthony Perkins to Sean Connery has not stood the test of time as well as it was thought to have done, this cleared the tracks for Branagh’s adaptation of Christie’s most famous novel.

After he successfully solves the mystery of the theft of precious religious artifact from the Wailing Wall area of Jerusalem, Hercule Poirot (Branagh) is beseeched to head back east to solve another mystery. Over the years, Poirot has made many friends, and one of these friends is the son of the railroad tycoon who owns the opulent Orient Express. When a passenger doesn’t show, Poirot is given his seat and boards the transcontinental train bound for western Europe. Although Poirot was promised a rail journey free of crime, a nice break, and to be pampered during his travels, he finds himself solving the most peculiar of mysteries–a most gruesome murder. The victim: an unscrupulous man with many enemies. When a freak avalanche forces the Orient Express to stop on a breathtaking, precarious stretch of track, Poirot finds the time to interview each and every one of the suspects—confined to the twelve first and second-class passengers who might have had access to the victim’s cabin. When each piece of evidence opens one Pandora’s Box after another, and the web of lies and connections between the passengers grows to Poirot’s mustache proportions, Poirot faces a complex mystery that prompts him to call his very approach to crime solving into question.

Nevermind the solution to the tentpole mystery novel is one of the worst-kept secrets in British literature history, Branagh crafts a cinematic mystery full of intrigue, revenge, lies, deceit, and the central murder. The plot revolves around a seemingly perfect crime committed on a railcar with no access to the outside, and only the passengers and crew on board the suspects. But even Poirot is stumped at the who, how, and why. Whether you know the ending or not, this film provides an excellent example of a genre that harkens back to Hollywood’s golden era. There was once a time that mysteries and musicals were a staple of the industry, but times change. Still, Branagh shows audiences that the timelessness of an old fashioned whodunit cannot be overstated. Since the ending of the mystery is known by so many people, Branagh was challenged with providing the audiences with something different, something that creates a new take on a well-known story. He accomplishes this by throwing in some additional subplots, character connections, and evidence that suggests that the solution may turn other otherwise than it does in the novel. The changes he brings to the story are organic and fit in well. The end result is a fantastic film that keeps your attention from beginning to end, even for those who know–or think they know–the solution to the mystery.

From the sweeping landscape shots of the Alps to the wide variety of shots to bring the audience onto the train with the rest of the passengers, the production design is excellent. The attention to the detail and visual elegance of the story are treated with creative precision, just as the Christie plot is woven together. Production designer Jim Clay’s meticulously recreated Orient Express is truly something to behold. Unfortunately, despite Branagh’s decision to shoot on 65mm film, there are times that the train set feels almost too perfect–a little artificial–similar to The Polar Express. Although there are times that the production design is not being showcased to the degree that it should to increasingly immerse the audience into the world of Poirot, there are plenty of beautiful shots that serve as a testament to the opulence of rail travel that once was. Of the few weak areas of this film, the cinematography is the weakest because it could have been used to truly create a visually stunning film and not fall victim to surrealism. Patrick Doyle’s score complements the film by feeling like an extension of the plot itself, in time and space. The combination of big band, jazz, and orchestral music immerses the audience into this world. All the technical elements work effectively to transport you from your seat to a compartment on the legendary train.

Branagh’s screen adaptation of Christie’s characters is brilliantly entertaining and developed well. Each character represents a different type of person, a different walk of life. No two characters are alike, which makes great for interjecting some social commentary into the mystery. From a professor spouting pro-Nazi sentiments to a nurse turned missionary, you will find the characters intriguing in and of themselves, never mind how they may be connected to the victim. Alexandra Byrne’s costumes are perfect appointed extensions of the characters that wear the authentic period clothing. Each costume was designed to be as much a part of the respective character as the accents, hairstyles, and backstories. Josh Gadd proves that we can successfully play a serious role, which will prove to bolster his career, Willem Dafoe is perfect as the professor, Dench portrays the princess in only a way that she could so successfully accomplish, and the rest of the cast are all excellent. Coming in a close second to Branagh’s screen time, as the iconic inspector Poirot, is the beautifully talented Michelle Pfeiffer as the widowed heiress Mrs. Hubbard (Lauren Bacall’s character in the original). She truly showcases her talent for adding depth to the characters she plays in order to make them complex and memorable. The diverse cast of characters is incredible to watch and couldn’t have been deleted better for this highly anticipated film.

Climb aboard The Orient Express for the whodunit that started it all. Branagh’s fresh take on the classic tale would satisfy even the harshest of critics Agatha Christie herself. He treats the source material with the respect it deserve, all the while, adding in new material to craft a new experience for those tho have read the novel and/or seen the original film adaptation of this story. Do yourself a favor and don’t ask anyone whodunit, because you need to experience the solution for yourself. Perhaps you can solve it more quickly than Poirot. Don’t let the train leave the station before you pack your bags and travel back to a time when trains went full-steam ahead into adventure and intrigue.

“It Comes at Night” movie review

The Doore of Red Death. A24’s highly anticipated horror film It Comes at Night by writer-director Trey Edward Shults looks beautiful and beckons for attention, but fails to live up to the storytelling and payoff of A24’s The Green Room. Another A24 film in the vein of It Comes at Night is 2016’s The Witch, which was ultimately a failed attempt to capture the magic of a horror/mystery film and leave audiences with too many unanswered questions. The only “terrifying ambiguity” (to quote The Huffington Post), in this film, is just how terrifying it is to realize you just dropped money on a film that works better for Netflix, and the ambiguity comes from the plethora of underdeveloped plot elements. Essentially, It Comes at Night reminds me of a bad M. Night Shyamalan film (before he made his outstanding comeback with The Visit and Split) and after the successes of The Sixth Sense and Lady in the Water. Like the aforementioned era of ehh Shyamalan films, the wind up is excellent but the delivery lacks any emotional impact and you’re left with realizing that you never truly cared about any one of the characters. Character development is lacking, and the third act is incredibly weak. However, there is something in particular that I find very interesting; and after reading other reviews, it seems to be something that has escaped most (if not all) the critics at this point. That is the striking similarities between this film and the timeless classic short story The Masque of Red Death by the brilliant Edgar Allan Poe. From the painting on the walls of the house depicting the bubonic plague to the ominous red door, there are quite a few parallels between It Comes at Night and The Masque of Red Death.

Nestled deep in the woods is a secluded boarded up house belonging to a family of three seeking refuge from an unknown threat. Whatever has caused this family to live off the grid and fend for their very survival is tasteless and odorless. Forced to wear gas masks whenever venturing out into the woods and even around their own home, the family is forced to take drastic measures to ensure there ability to avoid coming into direct contact with the disease. With only now way in or out of the house guarded by a red door, the family has stopped at nothing to protect themselves. One night, the family’s house is broken into and they must decide what to do with the man and his family. Having dispensed with courteousness and generosity in order to guard against any and all possible threats, the family must decide whether to listen to the man or kill him right then and there. Their decision will spark a fire that spreads into their deepest fears.

*spoiler alert* But, the analysis is fascinating.

Okay, now I know that the preceding paragraph describes what should be a brilliant horror film, but the problem lies in the greatly flawed poor storytelling, development, and realization. Lack of connection to any one of the characters is also partly responsible for the lackluster experience of watching this horror-thriller with a hint of mystery and dystopia. The only saving grace the film has is the connection to elements of Poe’s Masque of Red Death. For starters, the camera draws the audience’s (and diegetic POV) attention to a painting of a depiction of the bubonic plague (or black death). At first, I was puzzled as to why this painting. Then as I go through the movie, I realize why. Between the constant reference to and runtime spent on talking about and showing the red door, it hit me that this film reimagined Poe’s short story and set it in a dystopian or post-apocalyptic time and place. If you are unfamiliar with The Masque of Red Death, then I encourage you to read it or watch it on YouTube. It is allegory on the inevitability of death no matter how  hard you protect yourself, how much money you have, or how powerful you are. It also contains allusions to the seven deadly sins and the fate of those who party in the wake of mass death among a lower class of people. Although I find the short short to be a stronger narrative than Shults’ variation on this reimagination of the classic tale.

Both the short story and this film contain people hiding out in a fortress. Whereas The Masque of Red Death‘s Prince Prospero is held up ins abbey with his wealthy and noble friends while the red death is killing off the rest of the kingdom, A24’s It Comes at Night features a typical American family living off the land and secured in their rather tutor-looking mountain lodge. Like in Red Death, the family in It Comes receives an uninvited guest one night. Here’s where we see some difference. In Poe’s story, the guest is dressed to attend the masquerade ball and in this film, the guest attempts to break into the home. Although both stories take different approaches to the second act, once thing is in common. And that is the taking in of an outsider. All through the second act, there are hints at something not being right–a constant uneasiness. That apprehension and anxiety regarding the unknown works in the respective stories favors. The emotional impact and psychological payoff differs between the short story and film. Yes, the endings are very similar but feel incredibly different. You’ll just have to read The Masque of Red Death and watch It Comes at Night to know for yourself.

If you’re searching for a thriller to watch this weekend, as it is rain in many parts of the country, then perhaps you should watch Universal Pictures’ The Mummy instead. However, if you are curious about how well It Comes at Night parallels Poe’s short story, this definitely check it out. Not entirely sure why it’s rated R, but in case that’s important to you. To quote Dr. Ian Malcolm, “well, there it is.”