So…what is It? Whatever it is, it’s best to stay inside. The world has suffered some unknown catastrophe, one in which it is easy for people to contract some mysterious disease that reduces individuals to a gray, sickly, unresponsive zombie-like state. Living in the woods is a family of three—patriarch Paul (Joel Edgerton), matriarch Sarah (Carmen Ejogo), and son Travis (Kelvin Harrison, Jr). They only go out when absolutely necessary, and rarely at night.
The whole structure of the family gets thrown out of consistency when an intruder, Will (Christopher Abbott) comes into the family’s home. After initial distrust, Paul and company show Will hospitality when it’s determined all he’s looking for is a little food and shelter for his own family—wife Kim (Riley Keough) and son Andrew (Griffin Robert Faulkner). However, hospitality eventually turns into hostility when doubt begin to creep into each person’s head as to how safe they ultimately are. Whatever’s out there at night isn’t comparable to what’s going on in this home.
It Comes At Night. Surely, that means that there’s something in this film that terrorizes the main characters at night, right? Well…not exactly. The latest feature from the little studio that could in A24 has become quite the polarizing one, critics appreciating it yet audiences being let down by it, evidenced by a “D” Cinemascore. Is it deserving of all of this audience criticism, much of it seemingly founded on bait and switch trailers?
From a production standpoint, It Comes At Night is damn impressive, possibly even spectacular. Sophomore director Trey Edward Shults (Krisha) clearly is a rising name in the genre of horror, possessing a great eye and technique for all that unnerves. And it isn’t blood and gore and demons and whatnot. Along with cinematographer Drew Daniels, the most unforgettable moments are ones like where only an electric lamp illuminates the path that Travis walks through in the isolated cabin, and lingering shots of an ominous red door. Plenty of long and methodical takes exist in this movie that only amp up the claustrophobia, along with a minimalist score courtesy of composer Brian McOmber.
It Comes At Night comes from a very personal place and experiences of of writer/director Shults. The underlying trepidation, and general unease of how the two families—almost tribe-like—interact with each other comes from personal experiences and inspirations of its director. It feels fresh. Humanity is the main question posed with a family dynamic essentially asking “How far would you go to save yours?” “Can a person go too far in doing so?” The ending, much talked about, works for me when looking at it through the prism of family and sticking by one another. Hopefully without spoiling, I compare it to a parent who deep down knows their kid is wrong in some matter, but refusing to believe so despite all of the evidence points against him or her.
All that being said, It Comes At Night is a mystery that mostly does well in leaving matters up to the viewer. This is a world that the characters know little about, as do we as the audience. Still, the storytelling and details deliberately left out can sometimes be frustrating. Certain plot points are introduced, but never go anywhere beyond their initial introduction. Some of the final act comes off as a little too vague and shapeless. Not a complete detriment to the film, but, even just one to two more moments of clarity for these respective parts in the film would be beneficial to the finale.
The cast works wonders together. Joel Edgerton is rapidly becoming one of those actors who can seemingly do no wrong, gravitating to smaller, ambiguous pictures. He’s a forceful alpha father presence in this one, who co-exists with Christopher Abbott, also playing an alpha patriarch. Scenes the two share together are full of tension. Can’t diminish the work Carmen Ejogo, Riley Keogh, and Kelvin Harrison, Jr contribute, either. Granted, there aren’t really any character arcs or characters to really latch onto, but this isn’t a story about characters; rather, it’s about people and basic human nature when confronted with massive unknowns.
Not as completely polished as it could be, nevertheless, It Comes At Night is an overall strong, well-put together and acted feature. Freaks may not come out at night, but fear and paranoia certainly do and that’s more than enough here.
Photo credits go to indiewire.com, highsnobiety.com, and cinemavine.com.
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