Here's my review of It Comes at Night from the Movies sub-forum.
(Short version: I really liked it.)
After a mysterious epidemic has apparently taken its toll on the outside world, causing the remaining survivors to roam the land in search of food and water, a father, Paul, played by Joel Edgerton, lives in an isolated house in the woods with his wife and his 17 year-old son. No explanation is given with regard to the nature of the epidemic itself or even to its exact mode of transmission, save for the fact that, during the chilling opening sequence, Paul and his son don gas masks as they take the infected body of Paul's father-in-law outside, place it in a shallow grave, and set it on fire. In order to barricade themselves against possible contamination, the family stays mostly hidden in the house, where a red door is the only entrance or exit. When they catch a lone man trying to break into the home, and discover that he is not only healthy, but that he also has a healthy wife and toddler son who are traveling with him to search for supplies, Paul reluctantly decides to take this other family in and allow them to live in the house as well. There is safety in numbers, but there is also increased mistrust, as Paul constantly doubts the true intentions of the new arrivals, as a sexual tension develops between Paul's teenage son and the wife of the other man, and as none of these people understand exactly how to protect themselves against the unknown dangers that could be lurking in their surroundings.
A fear of the unknown is the primary force that drives It Comes at Night, which is a quiet and methodically-paced horror story that focuses on the fragile psychological states of its characters, who are always on edge and who are always within reach of their gas masks and firearms. This could be a social observation of the current atmosphere of our country, where people, many of whom own guns, are increasingly suspicious of strangers or foreigners because they are driven to be afraid by unreliable news sources, and where even the slightest cases of road rage or animosity could result in shootings. I prefer, however, just to think of it as a tautly written work of eerie mystery that combines Alfred Hitchcock's brand of suspense with the foreboding dread of classic stories like Edgar Allan Poe's "The Masque of the Red Death." The lack of a proper exposition and the lack of any real understanding of the situation is a strength of the story, because we are just as in the dark as the characters, who are surrounded by the pitch-black night and the strangely claustrophobic canopy of trees around their home.
It Comes at Night is not a feel-good movie, and it is quite difficult to watch at times. When I walked out of the theater tonight, I had the urge to cleanse my head by staying up late to watch a nonstop marathon of lighthearted comedies, like Ferris Bueller's Day Off or Caddyshack. The greatest movies, however, are not always the ones that simply make us feel good. Instead, the movies that we tend to remember best are the ones that are best able to place us in the heads of the characters and force us to wonder how we would behave if we were in their situations. The most memorable movies are also the ones that keep us on the edge of our seats, because we have no idea what will happen from one scene to the next.
The production company, A24, is responsible for many of my most well-loved films in recent years, particularly Under the Skin (2014), Ex Machina (2015), The Witch (2016), Green Room (2016), and Moonlight (2016). If you are familiar with those movies, all of which combine talented actors, convincing dramatic curveballs, and breathtaking cinematography, then you'll know what kind of vibe to expect from this latest release. It Comes at Night is one of the true winners of 2017 so far, and I will be surprised if it does not appear on my top five list, or even at the top spot, when I compile my list of favorites at the end of the year.
There's already a continuing debate about whether or not this movie is classified as horror, and this cover art (plus the quote) doesn't help to support that notion.
Also, the cover art conveniently eschews the central black characters in the film.
There's already a continuing debate about whether or not this movie is classified as horror, and this cover art (plus the quote) doesn't help to support that notion.
Also, the cover art conveniently eschews the central black characters in the film.
Not only that but it makes no sense having Edgerton's character in the front and the lady and her kid in the background since they have nothing to do with each another. Completely different families. Terribly marketed and now terribly deceiving cover art.
There's already a continuing debate about whether or not this movie is classified as horror, and this cover art (plus the quote) doesn't help to support that notion.
Also, the cover art conveniently eschews the central black characters in the film.
I hate to think that they purposefully removed the central black characters, but it sure seems that way.
The son was the main character (even more than the father). Almost the entire movie was from the son's point of view. So, if anything, he should be on the cover art.
I hate to think that they purposefully removed the central black characters, but it sure seems that way.
The son was the main character (even more than the father). Almost the entire movie was from the son's point of view. So, if anything, he should be on the cover art.
Not to mention that
[Show spoiler]the woman and her child were not being protected behind him. THE EXACT OPPOSITE IS THE TRUTH.
The son was the main character (even more than the father). Almost the entire movie was from the son's point of view.
The first part is wrong. The second part is correct. That's what makes this film such a problem. The son is not an interesting character, the father is. Whether it is the writing or the acting that makes the son uninteresting I'll leave to others to argue. But everything is shown from the son's perspective - except the brief excursion with the father and stranger on the truck. Even the little bit of sexual tension between the son and other wife that gets raised briefly never comes to anything. The fancy editing in this film (which is like a guy at a bar trying way too hard to pick up chicks) certainly doesn't help.
I hate to think that they purposefully removed the central black characters, but it sure seems that way.
The son was the main character (even more than the father). Almost the entire movie was from the son's point of view. So, if anything, he should be on the cover art.
Came here to voice the very same sentiment. It's so un-representative of the movie's characterization, focus, and tone. Somebody f*cked up!
There's already a continuing debate about whether or not this movie is classified as horror, and this cover art (plus the quote) doesn't help to support that notion.
Also, the cover art conveniently eschews the central black characters in the film.
This is absolutely botched and a shame. I cannot think of anything plausible for this screw up other than blatant racial bias.
The original poster art was brilliant, but likely gave the misconception that this is a full-on horror film (which I hear it isnt), that new video art gives it a more thriller-like vibe.
Given the great critical reaction but dismal audience response, looks like the distributor is going in another marketing direction for the video release...in a really half-assed and generic manner.
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It Comes at Night (2017)
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