Outlook: Spine chillingly good
Director: Trey Edward Shults
Cast: Joel Edgerton, Riley Keough, Christopher Abbott, Carmen Ejogo, Kelvin Harrison Jr.
In the wake of The VVitch and The Blackcoat’s Daughter, A24 has been developing a fine pedigree in the horror genre. It Comes At Night looks to be the darkest horror film produced by A24 so far.
The film’s premise is that two families, escaping an unknown menace ravaging America, find refuge together in an isolated hut. Yet the threat outside their shelter is quickly overshadowed by the enmity and paranoia which develops between them all.
It Comes At Night is directed and written by Trey Edward Shults, a rising director who gained critical acclaim for his debut film Krisha, about an estranged woman trying to reconnect with her family. Brandishing a larger budget for his second film, Shults has crafted a post-apocalyptic horror which borrows heavily from The Road, which is one of my favourite films. From the teaser trailer alone, both films explore the themes of family, love, and survival in a brooding and eerie post-apocalyptic setting where danger is everywhere. One scene in the teaser trailer, where the camera silently pans down a dimly corridor adorned by family photos, is reminiscent of the cannibal’s house in The Road.
Unlike The Road, where the apocalypse is caused by an unknown cataclysm, It Comes At Night suggests an unknown, but palpable force is sweeping across the world. Horror films have been using the trope of an unseen menace since The Blair Witch Project, to create the monster in the audience’s own imagination.
Horror based on suggestion is effective but also destructive. The trope creates a subjective expectation of what the menace is, which often surpasses the final reveal and renders a film anti-climatic. The better horror films which rely on suggestion conclude without any revelation. Paranormal Activity did an excellent job in crafting the house’s dark presence without divulging anything at the film’s end.
It Comes At Night bears the challenge of delivering upon the threat outside, without the revelation being disappointing or jarring with plot’s slow-paced tension. Regardless, I am excited to see this film on release, and from the trailer alone, Trey Edward Shults has the potential to be a great director.
By Saul Shimmin
For the trailer, see below: