The Trailer

The Review

From the title selection, the poster, the trailers are all like giving a strong indication that It Comes at Night Trey Edward Shults is coming and gives you a horror experience of horrorous ghost houses like Insidious or The Conjuring, even in the first 10 minutes filled by a parade of corridors the narrow darkness in the convulsive violin scoring procession seemed to affirm that expectation, but believe me, this is not the kind of horror you think.

In its journey, Shults presents It Comes at Night in a different way, slightly out of the way of most conventional horrors that sell more scare jumps that make you scream like a child or a frightening sight that makes your night's sleep disturbed. Wrapped together with a slow tempo or, a slow-burning horror-thriller that might make some unaccustomed viewers become uncomfortable. Shults did what he did with Krisha's budget micro drama two years ago with its thick psychological content, the difference being not a drama about dysfunctional families though we'll find a small family in it that always frightens. Shults try to scare you at different levels, to a level that is more or less humane rather than excessive giving visions and moments that make the audience shocked.

Choosing to use the minimal lighting mood, the narrowest space and the dark forests that form the claustrophobic effects of the mystery and the mystery of the deadly plague in the set of post-apocalyptic doom world that is never described in detail, Shults play with our psychological and subconscious minds, he creates a paranoia, stress, moral dilemmas and a crisis of confidence that culminate in the inconvenience of invisible threats and our innate fear of darkness indirectly intriguing our wildest imagination. "What's going on out there?", "What's really going on?", Those questions will bother you as you watch Paul (Joel Edgerton) and his wife, Sarah (Carmen Ejogo) and his son Travis (Kelvin Harrison Jr.) survive in their isolated and closed homes with the strict rules they apply.

The terror presented by It Comes at Night probably will not satisfy all of its audience, or it may end up disappointing especially for those who are already too used to being pampered by conventional horror approaches. Not only because he is rolling slowly but also because he will not give concrete answers to many of the questions and conclusions that have made you a poke since the first minute, but in the end, Shults practically runs his job well in the context of making a horror movie, especially when he is able to attack you in a dark mood accompanied by psycholiging terror that makes shortness and anxiety and fear at the same time.