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The central message isn't exactly clear, but whatever it is, it's extremely pessimistic, with no faith in human goodness or kindness. Clearly, however, the movie wishes viewers to discuss something. What does it all mean?"> Positive Messages
The central message isn"t exactly clear, but whate
Characters occasionally show reluctant trust and try khổng lồ help one another, but paranoia & brutality always win out. Those who are on the more loving và trusting end of the spectrum kết thúc up being punished for "letting down their guard.""> Positive Role Models
Characters occasionally show reluctant trust & t
Characters have gross, gory diseases: boils, đen bile spilling out of their mouths, etc. Injured dog, bloody fur, plus painful whining. Guns & shooting, characters shot and killed (including children). Dead bodies are burned. Punching, beating with blunt objects. Character are imprisoned, gagged, and tied lớn a tree. Scary nightmare sequences. Disturbing imagery and sounds."> Violence và Scariness
Characters have gross, gory diseases: boils, black
Couple kisses in a bathtub (no graphic nudity) và in bed. Sex noises heard -- heavy breathing, groaning, etc. -- through walls (nothing shown). In a nightmare sequences, a woman kisses a teen boy."> Sex, Romance và Nudity
Couple kisses in a bathtub (no graphic nudity) and
A few uses of "f--k" or "f--king," plus "s--t," "son of a bitch.""> Language
A few uses of "f--k" or "f--king," plus "s--t," "s
Characters giới thiệu a cup of whisky. Later, a character takes a drink of whisky alone."> Drinking, Drugs & Smoking
Characters giới thiệu a cup of whisky. Later, a charact
Parents Need khổng lồ Know
Parents need khổng lồ know that It Comes at Night has been promoted as a horror film, but it"s not exactly that. Nor is it a thriller or a sci-fi movie; it"s more like an apocalyptic, deeply pessimistic, deeply unsettling drama. It"s not the kind of scary fun that horror lovers usually enjoy, though it"s definitely…
The central message isn"t exactly clear, but whatever it is, it"s extremely pessimistic, with no faith in human goodness or kindness. Clearly, however, the movie wishes viewers to lớn discuss something. What does it all mean?
Characters occasionally show reluctant trust & try to help one another, but paranoia and brutality always win out. Those who are on the more loving and trusting end of the spectrum end up being punished for "letting down their guard."
This was the most unsettling movie I have watched in a long time. They should have never killed the little boy. All around a waste of my time & just downright depressing.
In IT COMES AT NIGHT, a mysterious, deadly disease has ravaged the land. Former teacher Paul (Joel Edgerton) has phối up a fortress in the woods, complete with a stock of food và water, where he lives with his wife, Sarah (Carmen Ejogo), & teen son, Travis (Kelvin Harrison Jr.). Unfortunately, they"ve just had to lớn shoot and burn Travis"s grandfather, who was sick with the disease. One night, a strange man, Will (Christopher Abbott), breaks into the house. He"s not sick but simply looking for food for his family, so Paul decides to let him, his wife (Riley Keough), and their young son stay. But something goes wrong. The family dog Stanley runs off into the woods, and then the little boy starts acting weirdly. Will Paul"s stronghold withstand whatever"s coming next?
Trey Edward Shults, who made the powerful, harrowing Krisha, returns with a dark movie that"s meticulously crafted và highly intelligent but also relentlessly pessimistic & deeply unsettling. It Comes at Night has been promoted as a horror movie, và it"s certainly horrific, but it"s not scary, & it"s not likely something that "scary movie" horror fans will find enjoyable. It defies any other categories, too; it"s not really a thriller (it"s not thrilling), và it"s barely a sci-fi movie (it"s apocalyptic but not futuristic).
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The movie depicts humanity in the darkest & most brutal of ways, without a shred of hope or goodness. & yet it has incredible use of sounds và movement, light and shadow -- all of which conjures up a vivid, visceral world. Travis, unable to lớn sleep, wanders the house at night, lighting weird angles with a lantern và listening khổng lồ muffled sounds from an upstairs perch. There"s a constant sense of uncertainty & unease, as we realize that the greatest threats aren"t the ones that can be seen -- or even heard banging on the red door.
What vày you suppose has happened to the world in this story? Where did the disease come from, and what will happen next?
What are the family relationships lượt thích here? Despite the dark circumstances, is any of the behavior similar lớn your family relationships?
In theaters: June 9, 2017 On DVD or streaming: September 12, 2017 Inclusion Information: Female actors, black actors Run time: 97 minutes MPAA rating: R MPAA explanation: violence, disturbing images, và language Last updated: June 20, 2023
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Like a lot of horror movies, “It Comes at Night” opens with a death. An older gentleman, who is clearly very ill, says goodbye lớn his family and then gets shot in the head before his son-in-law and grandson burn his body. Did I mention they’re all wearing gas masks? From the beginning, confusion và loss reign in a film designed to lớn keep you uncertain và emotionally raw.
Trey Edward Shults’ second film—after the remarkable breakthrough of “Krisha” last year—takes place in a world ravaged by a horrendous disease, the kind of thing that kills you in a day & has left survivors scrounging for food & trusting no one. It’s not pretty. Your body bruises, your eyes go black, you puke blood. But this is no riff on “The Walking Dead” or “28 Days Later.” It’s important that Shults’ vision of the over of the world opens not with an attack but with the kind of sự kiện that forever twists the trajectory of a young man’s life: the death of a loved one. It is a movie in which the villains are loss, grief, pain, fear, and distrust—very human emotions—and it is has no traditional undead brain-eaters. There are no zombies in the streets, boogeymen in the basement or witches in the woods—and yet it is one of the most terrifying films in years.
Shults is very careful in the way he parses out bits of information about the world in which “It Comes at Night” takes place, even though almost the entirety of the action unfolds in a boarded-up house & the woods that surround it. Father Paul (Joel Edgerton) has very strict rules that are uniformly obeyed by son Travis (Kelvin Harrison Jr.) & mother Sarah (Carmen Ejogo). Every window in the house is boarded up và there’s only one way out, through two locked doors, one of which has been painted bright red. If they need to go outside for any reason, they go in pairs, và they never go out at night.
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Shortly after the burning of grandpa’s body, the family awakens to lớn a sound in the “airlock room” between the two never-to-be-opened doors. Someone, or something, is in the house. After a bit of a terrifying scuffle, they discover that their invader is named Will (Christopher Abbott), & he’s just looking for water for his family, wife Kim (Riley Keough) và son Andrew (Griffin Robert Faulkner), who are in another abandoned house 50 miles away. They have food they can trade. No, they’re not sick. Và yet there’s something about their story that doesn’t quite showroom up.
Working at a peak of atmospheric horror rarely seen in only a second film, Shults và his ace cinematographer Drew Daniels (who also shot “Krisha”) create captivating visuals with in-scene light sources throughout “It Comes at Night,” from the dim illumination of a lantern to lớn the harsh glare of a flashlight on the kết thúc of a gun. Working with a fantastic production thiết kế team, they ground “It Comes at Night” in a tactile world—you can smell the wood that makes up the house và feel the grime on their skins. Even when the kích hoạt opens up lớn the woods outdoors, they find ways khổng lồ capture the natural light coming through the trees in a way that never pretentiously calls attention to itself but adds to lớn the tension. Everything adds to lớn the tension in “It Comes at Night,” including the stellar sound design và the playful use of changing aspect ratios, as the perspective shrinks lớn clarify when Travis is having a bad dream … maybe.
The performances are uniformly stellar throughout “It Comes at Night” (particularly Christopher Abbott, doing his best work since “James White”), but the film surprisingly belongs to engaging newcomer Harrison, who becomes the eyes through which we see this story. We rarely know anything he doesn’t, và it’s his 17-year-old emotions that we come to equate with our own. In a sense, the adults are almost archetypal—the strict father, the supportive mother, the engaging male stranger & the sexy female one—further defining how much “It Comes at Night” works on emotional undercurrents as much as it does traditional horror tropes. It is about that day you think your father might be wrong; the day you realize your loved ones can die; the day you flirt with a pretty girl. It just also happens to lớn be about what could be your last day.
Shults the screenwriter can sometimes push the refusal to answer questions about this universe to a point that will break for some viewers who need a few more rules và resolutions. I get that. My fear is that too many people will go into “It Comes at Night” expecting a traditional horror movie reveal in the final act or, worse, a Shyamalan twist. I would never spoil where a film goes but would only advise that you not try to lớn get ahead of this one. Just take it scene by scene, beat by beat, và let the characters’ emotions work on you more than trying lớn solve the unanswered questions of this tale.
Most of all, “It Comes at Night” is a film in which the true elements of fear come from within, not from outside. Sure, it’s not exactly a new concept—George A. Romero, John Carpenter and Stanley Kubrick have created the cinematic templates for such a thing from which Shults openly cribs without ever feeling lượt thích he’s self-consciously paying homage—but it’s remarkable to lớn consider how much horror mileage that Shults gets out of a film with no traditional villains. In a sense, it’s a reverse horror film, one that tells us, “Sure, the outside world is scary, but it’s distrust & paranoia that will truly be your undoing. The real enemy is already inside. Now try và get some sleep.” Good luck with that last part.
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Brian Tallerico
Brian Tallerico is the Managing Editor of Roger
Ebert.com, and also covers television, film, Blu-ray, and clip games. He is also a writer for Vulture, The Playlist,The new york Times, & GQ,and the President of the Chicago Film Critics Association.
