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Ten years is a significant amount of time between a film and its sequel, particularly in the case of a horror film. That gap, on the other hand, appears to have provided enough time for the filmmakers of “The Strangers: Prey at Night” to get everything just right.
It wasn’t until the film’s bleak-beyond-bleak conclusion that the 2008 original, written and directed by Bryan Bertino, showed the courage of its convictions. The problem, however, was that the conclusion seemed to come out of nowhere. Another home invasion film in which the villains appeared to be simply pranking a couple for an extended period of time, this one was a bit of a disappointment (one of the victims of the invasion was the only one to kill anyone until the climax). When the masked antagonists revealed their true identities in the final minutes of the film, it came across as a shocking revelation in the worst way.
The idea that this trio of people had no rational motive, no supernatural characteristics, and, when the time came, no scruples in murdering their victims, was chilling in theory; however, in practice, it was a little too realistic. In practice, it felt cheesy, as if they’d tacked on a hopeless conclusion just to make us feel bad about ourselves.
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Bertino returns to the sequel, this time as a co-screenwriter, with Johannes Roberts taking over as director, bringing a far more assured hand and a more striking visual aesthetic to the proceedings. In many ways, the success of any given horror film is determined by a few key aesthetic elements: the film’s atmosphere, its ability to play with light and shadows, and of course, its location (…location, location—as real estate professionals would say for dramatic effect). This is a visually oppressive exercise in terror from the get-go, with a prologue that breaks the strange sense that the killers might just be messing with their victims that persisted in the previous film. Only a few scenes in a brightly lit suburb interrupt the otherwise dark tone of the film, which continues throughout its duration.
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We already know from the original that the three strangers (played by Damian Maffei, Emma Bellomy, and Lea Enslin), who wear ironic masks or a hood with painted smiles, are serious about their business because of the original. The best thing about this sequel is that it can be read as a standalone novel. Because of the ending of the original film, we don’t have to guess that these people are heartless, cold-blooded killers any longer. In this outing, they get to work almost immediately, pulling up to an occupied trailer home in an otherwise empty trailer park in their beat-up pickup truck with a peppy pop song blasting from the radio to get to work right away (Roberts has that song play over the production logos and a black screen, but as soon as the film proper starts, it cuts out with a jolt, as we take in the dim, streetlight-lit scene). As in the original, a few knocks on a door at an ungodly hour of the night signal the beginning of a brief, if genuinely creepy, opening sequence.
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Rest of the story follows a likable family of four, consisting of Mike (Martin Henderson) and Cindy (Christina Hendricks), Kinsey (Bailee Madison), and Luke (Martin Henderson) (Lewis Pullman). They’re on their way to that trailer park for a weekend getaway before delivering Kinsey to a boarding school for the fall semester. Naturally, there is conflict between the members of the family. Although both Mike and Cindy are concerned about their daughter, they are concerned in slightly different ways: Mike is a bit out of the loop but recognizes that something is wrong, and Cindy was in a similar position during her own adolescence. Kinsey is resentful of her parents’ decision, as well as her brother’s status as the “ideal” child in their eyes. Clearly, Luke considers his younger sister to be a nuisance, but he wishes for a return to the days when Kinsey was his younger sister.
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When you consider how well Bertino and his co-screenwriter Ben Ketai integrate scenes to help flesh out these relationships before the terror truly begins, and even more surprising when you consider how well they integrate scenes to help flesh out these relationships during the height of it, it’s a little surprising. In fact, once it begins, the height of the terror is nearly constant at its most terrifying. The film does not pause during these sequences. Incorporated into the building tension as the family separates and gradually realizes that they are not alone in the park, they heighten the impact of what could have been straightforward sequences depicting the assorted family members being hunted down, trapped in enclosed spaces, and subjected to the gruesome work of the killers. Among the most memorable are an intense scene of last-minute escape in a cramped bathroom and a parent offering a child what may be his or her final thoughts. And, perhaps most importantly for the film’s thriller potential, we have the impression that, unlike the protagonists in the original, these characters have a realistic chance of surviving against the killers.
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Because we genuinely like these characters in their own, individual ways, all of this adds to our unease. Roberts’ technique has yet to be discovered, despite the fact that they are already superior. This is a technically impressive film, with the director and cinematographer Ryan Samul employing some lengthy, preternaturally precise zooms throughout the course of the film (a shot that starts dozens of feet away gets into almost-close-up while still keeping an actor in frame).
Roberts’ use of the seemingly endless expanse of this location for a series of genuinely terrifying sequences is made even more effective by the way he incorporates the seemingly vast expanse of this location into his filmmaking. There is a lot of space in the trailers, and any of the killers could be hiding in the shadows or beneath some kind of cover. There is no build-up or sting cues on the soundtrack, which means that we are never quite sure when the scare will occur. Even with sporadic light and distance provided by the park’s fields, we can barely make out a figure or the headlights of that damned truck standing a long distance away, before it comes charging towards us. Roberts and Samul perform a breathtaking virtuoso sequence at a pool, which begins with a subversion of their usual slow zooms. Continuing on from there, one of the characters engages in a life-or-death battle with an ax-wielding maniac on the edge of and in the water, which is filmed on location.
“The Strangers: Prey at Night” is an unexpected anomaly: a sequel that is both better than and corrects the flaws of the first film in the Strangers series. As a result of some strong performances as well as Roberts’ command of the atmosphere, the setting, and relentless pacing, it is a chilling and truly frightening horror film.
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