Respond to these rapid questions in our It Comes At Night quiz and we will tell you which It Comes At Night character you are. Play it now.
“It Comes at Night” begins with a death, which is a common occurrence in horror films. An elderly gentleman, who appears to be in poor health, says his goodbyes to his family before being shot in the head by his son-in-law and grandson before being burned alive. They’re all wearing gas masks, in case you missed it. Confusion and loss rule the roost from the start of this film, which is designed to keep you on your toes and emotionally raw.
Trey After the remarkable success of “Krisha” last year, Edward Shults’ second film takes place in a world ravaged by a horrendous disease, the kind of thing that kills you in a day and leaves survivors scrounging for food and having no faith in anyone. It’s not a pretty sight. Bruises appear on your body, your eyes turn black, and you vomit blood. This, however, is not a parody of “The Walking Dead” or “28 Days Later.” It is critical that Shults’ vision of the end of the world begins not with an attack, but with the kind of event that can permanently alter the course of a young man’s life: the death of a loved one, as opposed to an attack. While it does not feature the traditional undead brain-eaters as villains, it does feature the emotions of loss, grief, pain, fear, and distrust as antagonists—all of which are very human emotions. Despite the fact that there are no zombies on the streets, boogeymen in the basement, or witches in the woods, this is one of the most terrifying films to come out in recent memory.
The way Shults disseminates information about the world in which “It Comes at Night” takes place is extremely deliberate, despite the fact that almost the entirety of the action takes place in a boarded-up house and the woods surrounding it. Family patriarch Paul (Joel Edgerton) has extremely strict rules that his son Travis (Kelvin Harrison Jr.) and mother Sarah (Susan Sarandon) follow to the letter (Carmen Ejogo). It appears that every window in the house has been boarded up and that there is only one way out: through two locked doors, one of which is painted bright red. In the event that they must go outside for any reason, they always travel in groups of two, and they never go outside at night.
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Soon after the cremation of Grandpa’s body, the family is awoken by a noise in the “airlock room,” which is the space between the two doors that are never to be opened again. The house is being watched by someone or something. After a harrowing scuffle, they discover that their intruder is named Will (Christopher Abbott), and that he is simply looking for water for his family, which includes wife Kim (Riley Keough) and son Andrew (Griffin Robert Faulkner), who are in another abandoned house 50 miles away in another abandoned house. They have food with which they can barter. No, they aren’t sick at all. Although their story seems to make sense on the surface, there is something missing.
It Comes At Night Quiz
Using in-scene light sources to create captivating visuals throughout “It Comes at Night,” Shults and his ace cinematographer Drew Daniels (who also shot “Krisha”) achieve a level of atmospheric horror rarely seen in only a second film. The film’s lighting ranges from dim illumination provided by a lantern to the harsh glare produced by a flashlight on the end of a gun. Working with a fantastic production design team, they were able to establish a tactile world for “It Comes at Night”—you can smell the wood that makes up the house and feel the grime on their skins as they perform. Even when the action moves outside into the woods, the filmmakers find creative ways to capture the natural light that filters through the trees in a way that never draws attention to itself but rather adds to the tension. In “It Comes at Night,” everything contributes to the suspense, including the excellent sound design and the playful use of changing aspect ratios, as the perspective shrinks to clarify when Travis is having a bad dream… possibly.
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This film is surprisingly dominated by engaging newcomer Harrison, who becomes the eyes through which we see this story. While the performances are consistently excellent throughout (particularly Christopher Abbott, who delivers his best performance since “James White”), the film is surprisingly dominated by engaging newcomer Harrison. We rarely know anything about him that we don’t already know, and it is his 17-year-old emotions that we begin to associate with our own. While the adults are almost archetypal in their roles (the strict father, the supportive mother, the engaging male stranger & the seductive female stranger), the film’s emotional undercurrents outweigh its traditional horror tropes to a significant degree. “It Comes at Night” is a film that relies on emotional undercurrents as much as it does on traditional horror tropes. It’s about that moment when you realize your father might be wrong; the moment when you realize your loved ones may die; the moment when you flirt with a beautiful girl. It just so happens to be about what could be your last day on the planet.
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Shults In some cases, the screenwriter can push the refusal to answer questions about this universe to the point where it becomes unbearable for some viewers who require a few more rules and resolutions to be satisfied. I understand what you’re saying. 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, which is my greatest fear. I would never give anything away about a film’s plot, but I would caution you against trying to predict where it is going. Simply take it scene by scene, beat by beat, and allow the emotions of the characters to work on you rather than attempting to answer the many unanswered questions that this story raises.
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Most importantly, “It Comes at Night” is a film in which the true elements of fear originate within the character, rather than from the outside. Sure, it’s not exactly a novel concept—George A. Romero, John Carpenter, and Stanley Kubrick have all established precedents for this type of filmmaking, which Shults freely borrows without ever seeming like he’s trying to be clever—but it’s remarkable to consider how much horror mileage Shults gets out of a film that doesn’t feature any traditional villains. In a way, it’s a horror film in reverse, one that tells us, “Sure, the outside world is frightening, but it’s your distrust and paranoia that will ultimately bring you down.” The true adversary has already entered the building. Take a deep breath and try to fall asleep.” You’ll have a lot of luck with the last part.
For more personality quizzes check this: The Case For Christ Quiz.
