I’ve gone through seemingly time-and-time again what I favor in a horror film. Time after time after time. Needless to say I’m going to try to hard on it again here too extensively. Suffice to say: I prefer a less is more approach.
It Comes At Night, much like 2016’s The Witch, is movie almost tailor-made to my horror sensibilities.
“Secure within a desolate home as an unnatural threat terrorizes the world, the tenuous domestic order he has established with his wife and son is put to the ultimate test with the arrival of a desperate young family seeking refuge. Despite the best intentions of both families, paranoia and mistrust boil over as the horrors outside creep ever-closer, awakening something hidden and monstrous within him as he learns that the protection of his family comes at the cost of his soul.” – A24
As I’ve written in the past, any horror movie worth its weight in salt doesn’t simply taser your nerves with jump-scare after jump-scare. That’s completely within the realm of playing peek-a-boo with an infant. Look to any of the most iconic horror films, such as Alien or The Exorcist. There aren’t really roundtable scenes where the “rules” are discussed.
The more you know or understand about something, the less scary it becomes. It’s why the movement in the late 2000s to add backstory to some of cinema’s most iconic monsters (Leatherface, Michael Myers, etc) came off as simple sacrilege. It’s why I see little point in Ridley Scott diving into the origins of the xenomorph with his latest crop of Alien films. There’s definitely an argument to be made for some explanation (it all relates back to the movie itself and this is by no means a universal rule) but on the whole fear stems from a lack of understanding.
Generally fear comes from something you know very little about, and that’s the wheelhouse in which Trey Edward Shults opted to operate when crafting his second feature. There’s no scene of a news report providing exposition nor is there a scientist character to clue us in on what exactly our characters are dealing with.
As with his first film, Krisha, Shults translates the rawness of emotion from a personal tragedy (in this case the death of his father) to raw intensity, feeding into the universal fear of losing those closest to you. Like his earlier film, Shults explores the impulse and fruitlessness in seeking normalcy in extreme and strenuous circumstances, ultimately questioning whether such a normalcy is not only obtainable but if it even existed in the first place.
Those who come into It Comes At Night for an answer to what exactly “it” is, may leave this movie severally disappointed. There’s not a monster stalking the two families at its center. There isn’t even a clear villain or even a message. The horror at the movie’s core is a lot harder to define than something as tangible as a monster. Besides what could possibly more frightening outside than the thought of the danger being inside with you, under your skin.
The virus in the movie refreshingly doesn’t turn its victims into zombies or any form thereof. In fact, the film spends very little time on what exactly the disease is or how exactly it works beyond being both highly contagious and incredibly fatal. We don’t know where it originated or just how widespread it is.
At the center of it all is Travis (Kelvin Harrison Jr.), who serves as our de facto avatar. He is in the company of his teacher cum survivalist father Paul (a career best performance from Joel Edgerton) and stressed out mother Sarah (the ever-dependable Carmen Ejogo). The family lives already lives on the thin edge of a razor in their respective isolation when a stranger named Will (Christopher Abbott) appears at their front door.
Will has his own clan consisting of wife Kim (Riley Keough) and young son Andrew (Griffin Robert Faulkner). The two families soon merge and things are good…at first. But as movies demand, conflict arises as paranoia sets in. Travis’ nightmares, pouring with thoughts of hopelessness and desperation, become more and more frequent, eventually bleeding into reality. There’s all matter of combustions laid before the audience (sexual tension, conflated masculinity, “looking out for one’s own); all it takes is one match to set everything off.
What ultimately happens is at once shocking and inevitable, brutally so. This movie is scary enough on its own but its true horror only sinks in after its over and you attempt to wrap your head around what it all meant.
There’s an emptiness at the heart of It Comes At Night and in that emptiness viewers will either embrace the abject terror or find frustration at the lack of clear answers. Instead, we find blind animalistic panic, lashing out at an all-consuming darkness that will one day envelop us all.There are multiple sequences draped in shadow, darkness threatening to envelop the entire frame at points. It’s at these moments where the film really, really excels.
There’s no way to fully understand human nature; why we act the way we do when we’re scared. As the film’s tagline explicitly states, “Fear turns men into monsters.”
Allow me to play Carnac the Magnificent and glimpse into the future for a moment. This is a movie that will be completely bypassed come award season. I know it. You know it. Your mom knows it. And truth be told, there are much, much, MUCH worse things to be concerned about in this ever-troubling world of ours but it is a shame to be sure.
Drew Daniels paints a jaw-dropping canvas with his cinematography, by far the best I’ve seen this year. The shots within the house are tight and claustrophobic while the few times we leave for the outside feel expansive yet uncertain, leaving us never really at ease in the same way our characters are. It’s a commendable attribute for a cinematographer to pull something off like that in way that isn’t hand-holdy or obvious. The same could be said of Brian McOmber’s score which never dips into hysteria, instead serving its tight-wound atmosphere.
A common complaint I’ve been hearing relates back to the film’s marketing. Now, as of now, I’d say the film’s teaser (posted above) is one of the best I’ve seen in a good long while. Hands down the best for a movie to come out for movie this year thus far. It works as a template of exactly what a trailer should be. It’s only when you look at the full trailer (posted below) do things get kind of murky.
I’d argue this cut is still streets ahead of your run-of-the-mill trailer house output, as is the case with a lot of A24’s stuff. However it does more explicitly market this as a more traditional horror film, which is most certainly is not. It’s only during the nightmare sequences does the film dip into more familiar ground with the occasional jump scare and shocking image. On CinemaScore, audiences gave the film an average grade of “D” on an A+ to F scale which is shockingly low but still not really all that surprising.
This isn’t a movie for a “fun” movie night with your friends. Well unless those friends are like weird and “pretentious” like me, sadists or both. It Comes At Night is not a fun movie. It’s a movie that’s actually a lot more simple than it lets on, all while never going over the top (something its B-movie title may suggest) in a way that would feel false to the world Shults creates. Some may find this boring while I argue it’s refreshing.
Throughout the film, we are reminded of the red door which serves as the only entrance and exit for the home. Said door is never supposed to be opened after nightfall. As is the case with movies however, the door does open. However, we never get a glimpse of some horror such as a monster or zombie horde. Instead we only see empty blackness. A majority of horror films presume the former is scarier. Shults favors the latter however, allowing audiences to squirm in the expanse of the unknown and contemplate the familiarity we may find within our own souls.