Stay inside. Watch Netflix. Never come out. The end.
In a world where a deadly disease has been rapidly spreading, a close-knit family lives together, holed-up somewhere in the woods, where they fight all sorts of everyday dangers, aside from the disease. While the patriarch of the family, Paul (Joel Edgerton), wasn’t quite ready to live a life like this, he knows that his wife (Carmen Ejogo) and son (Kelvin Harrison Jr.) need him now and it’s about time that he took charge. Which is why when a mysterious outsider (Christopher Abbot) accidentally breaks into the house one day, Paul can’t trust the guy, or anything that he says. Initially, that is. After awhile, the two get to know one another, where they came from, and yeah, even forge something of a bond. And yeah, it turns out that this mysterious stranger has a name – Will – as well as a wife (Riley Keough) and kid. Together, the two families try to stay alive out there in the woods and fight the disease, but weird things begin to happen for both families and it comes to a head, especially when the lies begin to unravel.
It Comes at Night has been oddly marketed as a typical and conventional horror-flick, filled with spooky ghosts, creatures, and happenings. It constantly seems to be playing with the fact that there’s an “It“, it goes bump in the night, and yeah, there’s something to worry about, almost in the mythical sense, as opposed to the realistic sense. And I don’t know if it’s smart, or just pure manipulation of advertising, because It Comes at Night doesn’t really have anything to do with spooky and scary monsters in the slightest.
If anything, it’s just about spooky and scary human beings which, from a marketing standpoint, probably isn’t the one thing that’s going to sell tickets to the everyday, average movie-going member. Nope, sirree. Instead, most want to see a dark, twisted, shock-filled, and gory chiller filled with ghosts, goblins, ghouls, and evil, satanic beasts that can only be things of nightmares, as opposed to the real, everyday world.
And that’s why those types of movies, while some being quite good, are just not my bag. They feel phony, fake, and a little too obvious to really creep me out. It Comes at Night, however, is my kind of horror movie; it’s the kind that doesn’t really deal with anything supernatural, but instead, shows us that these supernatural beings are always lingering in everyday, normal human beings who, when pushed to the brink of insanity, act just as ugly, or hell, even as evil as these monsters from other horror flicks are known for acting. Honestly, who needs a Freddy, or a Jason, or even a Pinhead, when you can just have a bunch of normal people, who have to act out, kill, and lose bits and pieces of their soul.
See why I’m not working in advertising?
Regardless, It Comes at Night is a pretty great movie in its own right, forget the whole “horror” genre tie-in. Writer/director Trey Edward Shults clearly plays around with his audience in smart ways, making it seem like the material is going to go down one dark avenue, but then takes another wild turn, going somewhere completely and utterly darker and more sadistic than you’d expected. Because of the small-scope, and presumably, small-budget of the flick, it makes sense that he’s able to get away with some of the mean stuff that he gets away with here – the movie doesn’t back down from showing people, making rash and sometimes, tragic decisions, while having mercy about them, also know that they have to make them, for the greater good of themselves, as well as the ones that they love.
It’s basically an episode of the Walking Dead. Except that it’s actually good. Not cheesy. Doesn’t feature any zombies. And, oh yeah, actually has something interesting to say. It reminds me what can be achieved through horror, so long as there’s something going on behind the scares, the chills and the brutality; just having a bunch of scares, violence, and oh yeah, gore, without much going on, doesn’t quite work. There needs to be a soul, a heart, a bleeding pulse to everything that’s going on, because without that, what’s the point?
Sure, some people may be scared, but there’s nothing behind it.
Then again, this is all just me speaking. It Comes at Night will probably fail ten ways from Sunday at the box office, but honestly, that’s because most audience-members won’t be ready for it. They won’t expect the movie to be more character-based and more about the decisions that these people make, and why they make sense. They won’t expect there to be a small amount of actual blood, violence and gore, with most of it actually being hinted at, or shown off the screen. They won’t expect it to have a whole bunch of questions, setting up its dystopian-world, and not really answering a single lick of them. And they sure as hell won’t expect the material to go as deep, as dark and as downright disturbing goes.
But I did. And that’s why I loved it.
Consensus: Remaining smart, interesting, and complex, even despite all of the violence and creepiness that eventually ensues, It Comes at Night is a step above your average horror-fare, showing more mind, than bravado, while still also not backing away from disturbing us in the meantime.
9 / 10
Photos Courtesy of: Indiewire