I'm just going to come right out and say it, I think you should see this movie.
It Comes at Night is probably my favorite straight-up horror movie in a long while. That statement might not sound like very much on the surface, since admittedly a lot of horror isn't really my thing. But this film has much less in common with whatever iteration of Annabelle they were showing a trailer for than the casual audience member might think, which for me is a really, really good thing.
The film is the story of a family living in isolation in the woods to protect themselves from a deadly illness, and what happens when a stranger asks for help for his family.
What follows is straightforward enough on the one hand to not need further analysis on my part. It is solidly constructed, well-performed, unrelentingly atmospheric stuff. But on the other hand, this film raises far more questions than it answers, which I love it for.
So much of what I don't really dig about many horror films is how thoroughly explained they are. Say there is a ghost. By the end of the film we have a whole backstory for the ghost, know how it operates, what its plan is, etc. The only real open end is often a kind of obligatory, often unearned "But wait!" zinger after the resolution that loses any wait it might have had because we have forgotten the surviving protagonist's name. This after the trailer we saw thoroughly explained anything we might have wanted to know as well as where and of what type the jump scares would be.
An example: the only reason a film like The Birds has any impact at all is because it goes entirely unexplained. Tack on an explanation and you have a mad scientist B-movie, notwithstanding its brilliant sequences and pointed commentary. Leave it out and you have a social horror masterpiece. Explanations only work when they are themselves more horrifying than the events they caused--something like Psycho comes to mind.
There, I think I've mansplained that enough. For the time being.
It Comes at Night takes a different path than many of its contemporary horror brethren. While its story, as far as the characters are concerned, does find a resolution (and real human resonance to boot), the rest of the film just won't be boxed up. Writer/director Trey Edward Shults ventures into an imagistic dreamland time and again that begs for multiple viewings and (re)interpretations. We are invited to both participate in and offer psychoanalysis of the microcosm of self that is the solitary home in which we spend the film's runtime. It is as much about teenage loneliness and emotional anxiety as it is a study of post-modern naturalism and the bounds and limitations of society. All these elements meet under careful yet free-ranging direction. Its ideas truly are the focus rather than a thematically-minded afterthought, and the result is something that deeply terrifies without repulsing. Or mansplaining.
So I say again, go see It Comes at Night. And if you're sad that I didn't say anything about The Mummy, don't worry, I'm brewing something up as we speak. But priorities first.
It Comes at Night features Joel Edgerton, Christopher Abbott, Riley Keough, and Kelvin Harrison, Jr, and is rated R for general horrific stuff and a little swearsing.
Written and directed by Trey Edward Shults
by Chase Harrison