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September 29, 2017

It Comes at Night

by Franz Patrick


It Comes at Night (2017)
★★ / ★★★★

Viewers not experienced with the kind of horror that “It Comes at Night” offers are likely to paint the picture as an exercise in pointlessness. There is no jump scare, no last-minute “I should have seen it coming!” twist, and certainly no convenient explanation about a mysterious disease that has infected the world’s population. Instead, the focus is on a family (Joel Edgerton, Carmen Ejogo, Kelvin Harrison Jr.) living in isolation in the woods and their decision to help another family (Christopher Abbott, Riley Keough, Griffin Robert Faulkner) during their time of need.

The type of horror it offers is of a psychological breed. The approach is interesting in that in order to amplify tension, the tone is consistently flat, supported by pervasive grays and dark colors, how shadows remain just so in order to for us wonder what’s hidden in a particular corner of a room or whether the person confessing is telling the entire truth. Through its calculated slow pacing, the audience is given plenty of time and opportunity to doubt nearly everything, including whether our protagonists really are the protagonists.

While part of the point of the story is facing doubt and mistrust during a time of survival, the execution of an otherwise initially fascinating material is far from exciting. About halfway through, I found myself checking to see whether the film is nearly over because I felt as though the screenplay was struggling to maintain its level of intrigue. For instance, as someone who had lived in a household of two families, I felt the material had missed the opportunity to explore complex dynamics, the challenges of having to compromise to the point where one’s lifestyle, or at least an aspect of it, is altered until breaking point.

I admired its decision to have a bleak ending because it is loyal to the universe it has created. However, its attempt to deliver the final irony lacks a certain energy or sense of urgency. Thus, I found it largely unsatisfactory, a missed opportunity to remind the people watching why this particular story is worth telling. Viewers who have struggled to keep their eyes open throughout are likely to miss the punchline because it is so subtle, it is less of a punch than it is a delicate nudge.

Written and directed by Trey Edward Shults, “It Comes at Night” is a slow burn atmospheric horror that frustrates because it fails to capitalize upon its brimming potential. Those looking for entertainment are strongly advised to look elsewhere.

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