Get Out

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Allison Williams, Black Mirror, Catherine Keener, Cinema, Comedy, Daniel Kaluuya, Don't Breathe, Film, Film Review, Get Out, Girls, Horror, Horror Film, It Follows, Jordan Peele, Movie, Movie Review, The Babadook, The Witch

via flixster.com

“Get Out” is a film that deserves to be seen. I’m not saying that it’s perfect, far from it actually, but it’s the latest in a string of horror movies that show what can be done within the confines of the genre. In recent times films like “It Follows”, “Don’t Breathe”, “The Witch”, and “The Babadook” have each renewed my love for horror by championing their concepts above all else and using them to explore themes such as sexuality, grief, religion, and mental health. “Get Out” is similar in that it uses a simple premise to examine its theme, racism in the modern world, whilst intelligently allowing one to inform the other and vice versa.

Jordan Peele (the film’s director) introduces tension immediately, setting the stakes for what’s to come with an eerie opening scene in which a young man is kidnapped by a masked assailant. This scene doesn’t necessarily give the audience any further information than that which could’ve been deduced from the film’s trailer, but it does its job by creating an unsettling tone and eliminating any inclination to believe that strange moments in the story are the result of coincidence. It lets you know conclusively that something sordid is going on behind the scenes, thus establishing a sense of intrigue and giving you the satisfying feeling that you know something that the protagonist does not.

Peele then turns his attention to said protagonist, Chris (Daniel Kaluuya), fleshing out his basic motivations and establishing his relationship with his girlfriend, Rose (Allison Williams). From here it’s all about creating a mood, something which is crucial in any horror movie but especially when there’s an element of comedy involved as well. It’s fair to say that this is where “Get Out” shines as the mood which is produced fits the film perfectly and permeates every scene. There’s a hypnotic feel to “Get Out” which gives the experience a dreamlike quality, something which is clearly intentional as hypnosis is a key plot device in the film. There’s also a sense of voyeurism about the film, as oftentimes it feels as though you’re watching something that you really shouldn’t be – something private and alien.

Still, whilst “Get Out” is unsettling in many ways there’s also something surreally funny about it, even in its darker moments, with the eccentricity of the antagonists making the situation almost too bizarre to be taken seriously. This again feels completely intentional, not only because this film has been marketed as a comedy-horror hybrid, but also because it plays on the absurdity which is inherent in the situation that Chris is placed in.

The film’s initial tension is built upon the notion that there’s some sort of problem with a white woman bringing a black man home to meet her parents, so it makes sense to present the situation as peculiar given that a normal person wouldn’t hold that belief. Peele is careful to ensure that social commentary isn’t the film’s primary focus, cleverly framing it within an outlandish narrative in order to show just how laughable the problem is to begin with, whilst also making that narrative interesting enough to hold the audience’s attention regardless of whether or not the commentary was there at all.

The form of racism that “Get Out” considers is commonplace and often unintentional; the kind that’s implicit in the efforts that we make to portray ourselves as free from any and all prejudices. In trying to convince the world that we believe in equality it often happens that we display the opposite, as in virtue of that fact that we’re making a special effort to accommodate a certain race of people we inadvertently acknowledge that race plays a role in the judgements that we are making. Peele’s way of examining this issue is through extreme scenarios given the story that he’s telling, so it’s pretty easy to pick up on if you’re willing to look for it but also easy to ignore if you’d prefer to turn your brain off. The most obvious scene in which Peele presents this type of racism is at a party in which a guest notes that ‘black is in’. This comment is insulting and degrading for Chris as the guest is comparing his skin colour to a fashion accessory, thus devaluing his humanity, but the guest views it as a compliment made to build rapport.

Perhaps the most striking aspect of this scene is that whilst it’s clear that Chris is offended by the comment he decides not to speak out. He stays silent to avoid embarrassing himself and others, to avoid conflict, and to make a good impression in front of his girlfriend’s family, just as we feign ignorance on a daily basis when we see people act in ways that we don’t agree with. In this film the way that Chris rationalises strange behaviour works perfectly, as it allows Peele to justify typical examples of horror movie logic without relying on the stupidity of his characters. Instead of relying on coincidence or the suspension of disbelief Peele uses the fact that Chris is in some sense desensitised to being treated differently to explain why he disregards strange behaviour and continues to surround himself with ignorance, thus making the character relatable and making his fate seem inevitable given that he’s also desperately trying to make a good impression.

Still, having heaped praise on “Get Out” and placing it alongside other modern horror triumphs like “It Follows” and “Don’t Breathe”, I should concede that it inherits some of their issues as well. Whilst both of the aforementioned films live long in the memory and have some excellent moments, their universes are populated with inconsistent rules and narrative oversights. “Get Out” is no different in either respect, as although bizarre behaviour is well explained for the most part, there are instances in which characters act irrationally simply in order to progress the plot.

(SPOILER ALERT) The best example of this occurred late in the film when Chris freed himself from his restraints by using a pair of makeshift earbuds, ensuring that Rose’s family couldn’t trigger his hypnosis. This in itself was actually a clever scene as it justified the inclusion of Chris’ backstory, but the problem was that he then immediately removed the earbuds before trying to leave the house. This didn’t make sense, as although he might have wanted to be able to hear movements in the house in order to navigate his way to freedom and avoid attacks, he opened himself up to being made unconscious at a moment’s notice! This isn’t a risk that he should’ve been willing to take given that he was fully aware of the consequences, and it seemed as though this decision was made simply to create further tension when he encountered Rose’s mother, Missy (Catherine Keener), who predictably attempted to hypnotise him.

Nevertheless, issues such as this were infrequent, and although they did alter my opinion of the film slightly they didn’t ruin it by any stretch of the imagination. Overall “Get Out” was an engaging and intelligent film with two excellent lead performances from Daniel Kaluuya and Allison Williams respectively, and it was successful in establishing its mood early on and then capitalising on the creepiness of its premise. It was a beautiful film to watch and the dialogue was sharp, making for an experience which was both satisfying and entertaining.

8.5/10

Split

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After Earth, Anya Taylor-Joy, Betty Buckley, Film, Film Review, It Follows, James McAvoy, M. Night Shyamalan, Movie, Movie Review, Signs, Split, The Happening, The Sixth Sense, The Village, The Witch, Unbreakable

via slashfilm.com

“Split” is M. Night Shyamalan’s latest attempt to restore his reputation after a string of awful releases, and whilst it’s far from perfect I thought it was an interesting cinematic experience. It’s a visually entertaining film which I feel will appeal to mainstream audiences, boasting strong performances from James McAvoy (“Trance”) and Anya Taylor-Joy (“The Witch”), and great cinematography from Mike Gioulakis (“It Follows”).

What makes this movie interesting, over and above the intricacies of McAvoy’s performance, is that whilst this is Shyamalan’s film (as evidenced by the trademark twist at the end) it often feels as though Shyamalan is the one person holding it back. This is a harsh statement to make because he can’t be to blame for all of the issues that appear in the film, but I feel that the weakest aspects of the movie are the writing and direction – the two aspects which Shyamalan should’ve been most involved in.

The dialogue often verges on expository rather than natural, which in this case clearly stems from the writing rather than the delivery of the actors. The story also lacks believability, and whilst the film is fun to watch there isn’t a lot going on which ultimately makes the movie quite predictable. Still, the twist at the end goes some way towards making up for the predictability of the rest of the movie, and for someone like me who is familiar with the rest of Shyamalan’s work it improved the experience significantly.

The saviour of the film is McAvoy, who gives one of the best performances of his career in a role which could’ve been career-ending. His performance has just the right balance of commitment, eccentricity, and realism to make the character feel larger-than-life without also making him cartoonish. To be fair to the writing he is given something to work with on this front, because Kevin (McAvoy) has the chance to interact with characters outside of his natural habitat, which allows McAvoy to portray vulnerability and make the character sympathetic. This is necessary given that Kevin’s split personalities are the product of a troubled childhood, as making the character a monster would’ve taken away from a story which is at its heart about coping with abuse. Even though the psychological exploration in the film is undoubtedly limited it’s crucial that it’s there in order to make the clichéd story worthwhile, so Shyamalan at least deserves credit for this.

The changes that McAvoy makes when switching between personalities in this film gives each one of them their own distinct feel, but these changes are subtle for the most part. He does make major changes in order to distinguish between personalities, such as changing the pitch and tone of his voice, but he also changes his mannerisms, making psychical changes on top of those which are done to his wardrobe. For example, when he’s portraying Hedwig, (a young boy who takes a liking to Casey (Anya Taylor-Joy)), he comes across as shy and introverted, whereas when he’s playing Patricia he’s upright and composed which makes her seem as though she’s in charge. The way that these characters come across as having their own unique personalities is a direct result of the alterations that McAvoy makes to his posture and his movements when he’s playing them, which is why his performance deserves to be praised. Without McAvoy “Split” simply wouldn’t have worked, and we could’ve ended up with another disastrous Shyamalan movie along the lines of “After Earth” and “The Happening”.

Anya Taylor-Joy also deserves credit for her performance, as although Casey is less developed than Kevin she is likeable throughout. As an actress Taylor-Joy is able to be expressive without overacting, and in this film she portrays a sense of acceptance whilst also undercutting this with an aggressive self-assurance, which in turn gives off the impression that she’s a worthy match for Kevin even though she’s diminutive in stature. Casey is a deceptively well-realised character, and this is largely down to Joy’s emotive but restrained performance.

It’s a shame then that the supporting cast don’t seem to understand their characters or the situations that they find themselves in. The only member of the supporting cast who plays a meaningful part in the film is Betty Buckley in the role of Dr. Fletcher – Kevin’s psychiatrist – but again I don’t think that her performance is particularly good. She isn’t terrible, but her performance is basically an imitation of other performances she’s seen on film. It was more forgettable than it was insulting, but when she was on screen I found myself acutely aware that I was in a movie theatre staring at a screen.

Overall, “Split” is an entertaining but limited film. It’s elevated by the lead performances of James McAvoy and Anya Taylor-Joy, as well as its stellar cinematography, but it doesn’t quite reach the heights that it aspires to. I would recommend it and I think it has the potential to make Shyamalan relevant again, but it’s still lacking in a number of important areas.

6.5/10

My Favourite Films of 2015

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Action, Adam Driver, Andrew Neiman, Animation, Baymax, BB-8, Best Films of 2015, Big Hero 6, Birdman, Bridge of Spies, Calvary, Cinema, Commando, Crimson Peak, Daisy Ridley, Daniel Craig, Death, Dee Barnes, Die Hard, Disney, Dr. Dre, Eddie Redmayne, Edward Norton, Emily Blunt, Ex Machina, Film, Fuck Tha Police, Gone Girl, Gordo The Weirdo, Han Solo, Horror Films, Ice Cube, Inside Out, It Follows, J. J. Abrams, J. K. Simmons, Jake Weary, Jason Bateman, Joel Edgerton, John Boyega, John Wick, Keanu Reeves, Kylo Ren, Macbeth, Maika Monroe, Marion Cotillard, Matt Damon, Michael Fassbender, Michael Keaton, Miles Teller, Movie Review, Music, N.W.A, Oscar Isaac, Rap, Scott Adsit, Sicario, Spectre, Star Wars, Star Wars: The Force Awakens, Stephen Hawking, Straight Outta Compton, Terence Fletcher, Terminator, The Gift, The Grand Budapest Hotel, The Lord of the Rings, The Martian, The Oscars, The Theory of Everything, The Walk, Theatre, Thriller, Tom Hanks, Whiplash, William Shakespeare

2015 was a great year for film; at least it was if you live in the UK. In the US and various other regions more than one of the movies on this list would be classified as a 2014 film, which would definitely lower the standard. However, as far as I’m concerned a film belongs to 2015 if it was released during that year in my country, so “John Wick”, “Birdman”, etc., are fair game.

I’m sure that plenty of people will disagree with this list and its order, which is fine, but unless you’ve spent many hours developing your opinions and are willing to tell me why I’m wrong with pages of A4, please accept that our tastes differ. I just didn’t love movies like “Ex Machina”, “Spectre”, “The Martian”, or “Sicario”, so they won’t appear on this list.

Also, it goes without saying, but I haven’t seen every film that was released over the course of the past year. If I’ve left something off the list that you think was worthy of a place then it might just be that I didn’t see it, either because there were problems in my life that got in the way, or because I simply didn’t want to; “Crimson Peak”, “The Walk”, “Inside Out”, and “Bridge of Spies” are prime examples of films that I wanted to see and might’ve really enjoyed, but just couldn’t find the time for. I’m doing this list now because it feels appropriate and because by this time next year nobody will care what happened in 2015, but it should be clear that if I’d have waited till then the list would be different; “Calvary” and “The Grand Budapest Hotel” would definitely be on my 2014 list had I wrote it today rather than at the end of that year, which goes to show that things can change.

10. Macbeth

“Macbeth” is a bit of an outlier on this list, which is perhaps why I enjoyed it as much as I did. In a movie landscape populated by grandiose blockbusters, sequels, prequels, and superhero flicks, this film was a refreshing change. “Macbeth” sets itself apart by telling an age old tale written by Shakespeare himself in a beautiful modern way, and it does this whilst still preserving the heart of the original work. It’s a wonderful merging of careful cinematography, terrific acting, and perfect casting, which allows both fans of classic literature and mainstream audiences to appreciate the brilliance of a story which most are already familiar with. “Macbeth” could easily appear right at the top of this list because of how flawlessly it was executed and how relevant its themes still are today, but personally I connected with other films that little bit more in 2015.

https://benjaminwhittaker.wordpress.com/2015/10/09/macbeth/

9. John Wick

From “MacBeth” to “John Wick”… maybe I’m losing it in my old age. It speaks volumes of the weird and wonderful world of cinema that those two films can be so different yet so good, and that one person can enjoy both of them regardless of how dissimilar they are.

“John Wick” doesn’t contain the complexity or duplicity that “MacBeth’s” story can boast, nor does it have a single performance as good as Michael Fassbender’s or Marion Cotillard’s as Macbeth and Lady MacBeth respectively. However, what it does have is gun-fu, ridiculous action sequences which are wonderfully choreographed, and a revenge tale that every animal lover can get behind.

When assessing “John Wick” it’s easy to get lost in whether or not what it’s doing is as worthy of praise as other films on this list, after all, it isn’t telling a Shakespearean story of tragedy and the trappings of the human condition. But, in my opinion, what matters is how well the filmmakers pull off their intentions, rather than whether or not those intentions are in some way more worthwhile or ‘better’. “John Wick” is an action movie in the mould of some of our most treasured films; “Die Hard”, “Commando”, and even “Terminator” are beloved because they tell the story of one person triumphing against all the odds, and that’s what we see here. It’s just a film that is utterly enjoyable to watch, and that’s why it deserves a place on my list.

https://benjaminwhittaker.wordpress.com/2015/04/15/john-wick/

8. The Gift

“The Gift” was a real surprise for me this year; after seeing the trailer I wasn’t excited at all to see it, but my brother persuaded me that it was worth watching so I gave it the benefit of the doubt – I’m glad that I did. What impressed me the most about “The Gift” was how smart and considered it was; the story was formulated in such a way that as a viewer I was never quite sure what exactly was going on, which in turn led to various different theories flying around in my mind. At the start I got the feeling that Gordo (played by Joel Edgerton) really was a weirdo, as the trailer suggested, but as the film went on that feeling was challenged multiple times – the intrigue that this created, along with Simon’s (Jason Bateman) strange behaviour towards him, made for an incredibly immersive and interesting experience.

None of this would matter if the movie’s ending didn’t provide a satisfying pay-off, but thankfully it really does. You can take it in whichever way you like, and you can come to your own conclusions about the truth, but no matter what you will feel both disturbed and strangely gratified when the end credits roll. “The Gift” is a slow burn, but it’s constantly entertaining and engaging, with three terrific lead performances and layered characters.

https://benjaminwhittaker.wordpress.com/2015/08/15/the-gift/

7. The Theory of Everything

When I saw “The Theory of Everything” I really liked it; I thought it was a brilliantly executed movie and that the performances were outstanding. Stephen Hawking’s life story is such a wonderful example of how one person can overcome incredibly difficult circumstances and succeed in the face of adversity, which is conveyed perfectly through the power of Eddie Redmayne’s performance.

However, the reason why I liked it as much as I did originally was that it moved me emotionally given the place that I was at in my life – I’m not in that place anymore, so it doesn’t hit me in the same way. I still appreciate “The Theory of Everything” for its execution and the beauty of the story that it tells, and obviously I value the reaction that I had to it initially, but I feel a lot less enthused by it now. It’s great and has a solid place on this list, but the reason that it isn’t higher is that I’m not the person who saw the film back in January anymore, so the way I feel about it is importantly different.

https://benjaminwhittaker.wordpress.com/2015/02/13/the-theory-of-everything/

6. Big Hero 6

“Big Hero 6” was my favourite animated film of 2015. Baymax (voiced by Scott Adsit) is such a memorable and loveable character, and the art style behind the whole film is really striking. There’s a lot to like about “Big Hero 6”, from the setting to the story, and it’s a film which both adults and children can enjoy. Great characters, excellent animation, and a well-told story make it a fantastic film worthy of the Oscar that it won in February.

https://benjaminwhittaker.wordpress.com/2015/03/21/big-hero-6/

5. Whiplash

Music has the power to influence people and make them feel a certain way, and so does “Whiplash”. I’m not a musician, I’m not a fan of jazz, and I definitely can’t play the drums, yet this movie made me feel like those three things were the most important things in the world. I left the theatre after seeing “Whiplash” feeling upbeat, excited, and triumphant, and I walked back to the bus stop with a skip in my step. I loved the way that Andrew (Miles Teller) placed success above everything else in his life, and how his ambition drove him towards self-destruction. I loved how Terence (J. K. Simmons) unashamedly tried to get the best out of his students and how he put this ahead of their emotional and even physical well-being. I just enjoyed everything about the movie, and personally I liked both of the leading characters for their ruthlessness and their drive.

I’ll admit that my feelings towards “Whiplash” are probably a bit over the top, because it isn’t the most grand movie in terms of spectacle, and it isn’t particularly surprising in how it tells its story, but there’s just something great about it. If I see the DVD when I’m out shopping it makes me smile, and when I think back to seeing it at the cinema I remember just how much I enjoyed it. I loved it, I connected with it, and it was utterly memorable.

https://benjaminwhittaker.wordpress.com/2015/03/08/whiplash/

4. Birdman

“Birdman” is flawless in basically every way. If this list was designed to state the ‘best’ films of 2015 then I suppose it would have to be at the top for its technical achievements. Nevertheless, I don’t think that writing a list like that would actually be a fair reflection of my opinions, or be useful in any way. I have no authority to decide which films should be seen as the best; I don’t know what the best film of the past year was outright because, at the end of the day, I haven’t seen everything! It isn’t up to me to decide what makes a movie objectively better than hundreds of others, so that isn’t the purpose of my writing this list.

Even if “Birdman” is the best film of 2015, I can say with confidence that it isn’t my favourite. I liked it a lot and I found it very enjoyable to watch, which is why it’s so high on this list, but I loved the three movies I’ve placed above it substantially more. The social commentary that “Birdman” presents is at times hilarious, and when you couple that with fantastic performances from Edward Norton and Michael Keaton it’s hard not to admire the film, but I didn’t have as good a time watching it as I did my top three.

https://benjaminwhittaker.wordpress.com/2015/02/06/birdman/

3. Star Wars : The Force Awakens

The last film I saw in 2015 also happens to be one of my favourites. As a starting point I should say that I’m not actually a massive “Star Wars” fan, so my feelings towards this film aren’t the result of bias. I like the series, I appreciate its influence on pop culture, but for me there’s nothing about “Star Wars” that makes me feel the sense of wonder that I do when I think about something like “The Lord of the Rings”. However, I loved “The Force Awakens”, and I thought it had a sense of fun that’s rare to find in modern cinema.

The way that J. J. Abrams managed to tell a new story whilst keeping a sense of familiarity was admirable to say the least, and on top of that the characters that we’re going to see again moving forward such as BB-8, Rey (Daisy Ridley), Finn (John Boyega), and Poe (Oscar Isaac) were all instantly memorable and likeable. Kylo Ren (Adam Driver) was also suitably detestable as the villain of the piece, and I’m looking forward to seeing his evolution as a character in the next film.

The only thing that perhaps lets “The Force Awakens” down is the fact that for me it was slightly too influenced by Disney, in that at certain points the action felt cartoonish and characters didn’t seem as though they could possibly be in genuine danger. Still, that’s not really something new for “Star Wars”, and it’s not as if the stakes weren’t raised at important junctures. All in all, I thought this movie was an excellent way to keep existing fans happy whilst also bringing a new generation of movie-goers to the party, which is exactly what the doctor ordered.

2. Straight Outta Compton

“Straight Outta Compton” is as visceral and pulsating as the music that inspired it. The film begins with the members of N.W.A struggling to deal with life in Compton, mixed up in violence and dealing with police brutality, and this informs the events which follow. Starting in this way allows the audience to empathise with the characters and understand their actions, and it made every word that the group uttered whilst on stage feel that bit more meaningful; when the group performed ‘Fuck Tha Police’ I could understand the reason why it was written in the first place, and this gave me as an audience member an emotional connection to the song’s lyrics.

One of the major issues with “Straight Outta Compton” is that it leaves out certain significant moments in its character’s lives, such as Dr. Dre’s altercation with Dee Barnes, but for me this wasn’t really a problem. History is told by winners, and at the end of the day this film was funded by Dr. Dre, Ice Cube, and a few others. It isn’t their priority to show themselves in a damaging light; they’re businessmen and they want to promote both themselves and their music, past and present. The best way to do that is with a movie which glorifies their lives. I personally don’t have an issue with that because “Straight Outta Compton” is just a movie; it’s designed to entertain and to explore a certain narrative, it isn’t a documentary.

With that said, I think this is most definitely one of the most entertaining movies of 2015, and I also think that the performances from the entire cast were excellent. There’s very little to dislike, and despite the fact that it’s quite excessive in length, I didn’t want it to end.

https://benjaminwhittaker.wordpress.com/2015/08/30/straight-outta-compton/

1. It Follows

“It Follows” isn’t perfect, I want to make that clear. The story and even its basic premise can be scrutinised given enough thought; the creature which plagues the protagonists is meant to walk towards them relentlessly, and it seems as though that’s all it can do, or else it would just kill its targets as quickly as possible. However, at many points in the film the creature demonstrates that it can actually do a variety of things – it appears on a roof, it crawls, and it shows that it’s physically strong. Still, there’s a reason that the creature spends most of its time ‘following’ the heroes of the piece, and it’s this reason, along with the sheer brilliance of the idea behind the film and a wonderful score, which makes “It Follows” my favourite movie of 2015.

I know that a lot of people take issue with this film because they want answers – they want to know what the creature is, what its motivations are, and how Jay (Maika Monroe) could possibly defeat it. I get that. Nonetheless, bringing up that very issue is in itself missing what is so bloody awesome about this movie! There are no answers in “It Follows”, not for the audience and not for the characters. They’re constantly being chased by something that they will never understand, something which is completely unknown to them. They’ll try to avoid it, and at various junctures they’ll succeed, but ultimately it will catch up and they will lose. That’s life, and that in my eyes is exactly what this film is really about (well, that and sexual vulnerability, but we aren’t in film class and I don’t plan on writing an essay here).

No one can cheat death, and it is always there behind us, no matter what we do. The creature in this movie is much the same; it lurks in the background as our protagonists try to live their lives, and no matter where they go or what they do it will always be there. It won’t do anything spectacular to catch them, at least not on a regular basis, but when they slip up it will appear. That’s why this movie is so goddamn scary, and it’s why I couldn’t stop thinking about it after seeing it at the cinema.

“It Follows” really has stuck with me, and I think it always will; it’s probably my favourite horror movie of all time, which is saying something because I really do love a good horror film. Not only that, but I play the game that Jay and Hugh (Jake Weary) play at the beginning of the movie in my head all the time; I survey a crowd and think which person I would like to be, and then the thought of the horrible creature pops into my head and I feel nervous. I even look around when I’m walking around town and think what it would be like if there really was someone following me, glassy eyed, creeping ever closer. I’m not looking around in fear, nor do I actually expect to see someone there doing anything creepy, it’s just that because of how much this film affected me I feel the need to look.

I just love “It Follows”, and I’d defend it to the death despite its inconsistencies. Last year when I wrote my list of favourite films I knew that in my mind “Gone Girl” had to be at the top, and I was comfortable with making a case for it, but I didn’t feel passionate about it. With this movie I really do, and although I know that there are people who live in the same house as me that think that it’s utter crap, it doesn’t change my opinion. If you haven’t seen it then I would recommend that you give it a chance, but make sure to leave the light on and lock your door afterwards!

https://benjaminwhittaker.wordpress.com/2015/04/10/it-follows/

It Follows

Tags

2015, Cinema, Fear, Film, Ghosts, Horror, It Follows, Keir Gilchrist, Maika Monroe, Monsters, Movie Review, Nightmare on Elm Street, The Guest

“It Follows” is one of the most inventive and intelligent horror films I’ve ever seen. I feel confident in saying that there won’t be a better addition to the genre in this calendar year, and I am also happy to say that it’s one of the best films of 2015 so far. Although some of the movie’s rules are slightly unclear and sometimes ignored, that doesn’t take away from the fact that the soundtrack is brilliant and the idea is terrifying.

The film revolves around Jay (Maika Monroe), a young girl who is left confused and traumatised following an unusual sexual encounter at the start of the film. She gets more than she bargained for from the experience, and is left violated in more ways than one. Her life becomes a constant battle to stay alive, as a supernatural being lurks in the background with the intent to kill. “It Follows” is a frank and fitting name for the movie and it tells you all you need to know, be under no illusions, the title is exactly what the film is about.

The first thing that I’ll say is that the idea is genius. There’s something truly off-putting about something you can’t really understand stalking you slowly – something that no one else can see and that will stop at nothing to end your life. What could possibly be scarier? No matter where you are, no matter what you’re doing, it will be there; walking towards you in the guise of a person you may or may not know. You can’t sleep, eat, or let your guard down for even a second, because if you do it will be there and it will kill you. The movie doesn’t focus on jump scares or special effects, rather, it psychologically drains its audience, and leaves you watching your back once you leave the cinema.

The premise is introduced to the audience in a subtle and pleasing way; first we see a girl running away from something that isn’t there, you don’t see a monster lurking in the corner of the screen making its way towards the protagonist. Then, as everything seems normal, the characters on screen are playing an innocent game which turns incredibly weird. They’re doing what people do, they’re on a date and they’re trying to pass the time in as painless a way as possible, but suddenly the boy that Jay is dating says something strange. He’s supposed to be choosing someone in a crowded room to swap lives with, someone that he’d want to be, and he says ‘the girl in the yellow dress’. Well spoiler alert, there’s no girl there. The audience knows why that is, they know that this girl is following him and is ready to kill, but Jay doesn’t and it’s a great way to reveal something to the audience without giving away the game too early.

What ‘it’ is remains unclear even after you have left the cinema, which only adds to the sense of vulnerability that this film creates. It isn’t human, it isn’t friendly, and it won’t give up, but that is all you know. I really appreciate this kind of approach to a horror film, because so often writers will try to explain the unknown in ridiculous and nonsensical ways. This doesn’t make a horror film better, because there are some things that we just can’t know about, and ghosts, ghouls, demons and beasts fall firmly in that category. That’s what makes them so scary!

If you try to explain the origin of this kind of creature you will come unstuck, because no one can definitively explain what is in essence unexplainable. No one involved could ever discover how this creature came to be, or why it was obsessed with sexually active teens; it’s not as if anyone would be able to ask it! This is a problem on some level, because the rules in the film’s universe are very blurred – what happens if someone being followed donates sperm? There are plenty of questions left unanswered, but they’re unanswered because the people being tormented in the film have no way to solve their problem and there simply are no answers available. Why does the creature follow them? Why does it only walk? How does it take different forms? Why can’t it be killed? We just don’t know, but if we did then I wouldn’t have looked over my shoulder half as much on the way home.

The film encompasses fears which we all have and preys on some of our most private moments. The idea that there will always be something there watching your movements, something relentless waiting to hurt you around every corner, is so all-consuming and frightening that you can’t help but identify with Jay’s situation. We all feel this kind of vulnerability in everyday life, every breath could be our last and in fact death is always there waiting, but the difference is that in our lives it doesn’t take the form of an old lady shuffling towards us with an icy stare, or a girl urinating with half her clothes ripped off.

The film also uses the theme of sexual vulnerability to instil fear in the audience, because the whole movie basically revolves around the idea of a sexually transmitted ghost! Sex is something we value, and many feel that it is sacred and beautiful, but this film turns that on its head and makes it something very ugly. The only way to keep yourself alive is to find a person that’s likely to have sex again and offer them your body.

“It Follows” captures the essence of classic horror movies like “Nightmare on Elm Street”, in that it uses a sense of exposure to create tension and unease, capturing the audience’s imagination and delving into some of our darkest fears. In “Nightmare on Elm Street” the characters have no escape and no peace, because the moment that they let themselves relax they will be under threat. Closing your eyes means death in that film, and much the same applies in “It Follows”. In this movie if you let yourself get comfortable you’re as good as finished, because your advisory won’t be doing the same, it wants what it wants and it isn’t going to leave you alone until it has you. That’s something that captures what the genre is all about; horror. Horror films should be about what goes bump in the night, but they should also tap into the nature of our existence and try to tear it apart. What would make this life unliveable? If you can answer that question then you have yourself an antagonist, and the creature which follows Jay in this film would most definitely challenge your will to live.

The performances were all as good as they get in this genre of film (although that isn’t saying much all things considered). Each actor plays their part in making this film immersive and entertaining, and the people playing the creature deserve credit for making the movie as creepy as it was. Maika Monroe is great as Jay; she shows the dread and the helplessness that the character would be feeling without appealing to horror movie clichés, such as screaming too often or bringing on the waterworks. She does get extremely distressed of course, but only when the scene absolutely requires it; all her reactions are believable and horrifying, and I wasn’t ever taken out of the film by her performance. So far I have seen her in two films, this one and “The Guest”. Both of those films are weird and belong to the realm of inventive horror, so she’s fast becoming a poster child for the future of the genre in my eyes. If I see her name on a poster I’ll see the film, which is saying quite a lot.

The final thing worth mentioning in detail is possibly the most important feature of the entire film; the score. The synth score that accompanies the fine camera work in this film is an absolute joy to behold. It’s a disconcerting and consuming noise that plays whenever a character is in danger (which just so happens to be 9/10’s of the movie). It accompanies the events on screen perfectly, because it has an other-worldly feel to it, and it keeps the tempo up whilst the creature slowly enters the frame. As our villain ambles towards Jay, the score is speedy and gets progressively louder, so that whilst the situation appears to be fine to the people on screen, the audience is fully aware of the severity of the situation.

There are a few observations I’d like to make, simply because they came to my mind as I was watching the film, but they will be slightly specific, so SPOILER ALERT:

• The easiest way to evade death once you’re infected is probably prostitution, in that if you have sex with a prostitute the ‘illness’ will be passed on and there will be more people that have to die before you’re in trouble again. That’s something which Paul (Keir Gilchrist) realised towards the end of the film and I was glad to see that the filmmakers took that fact into consideration.

• There were a few big opportunities that were missed for me. Firstly, the film neglected to use children. Imagine if the thing that was following Jay was suddenly a young boy with dead eyes, would she have realised that this child was evil? It would’ve been terrifying to see a child viciously attack Jay. We did see that once, but for me it was one of the worse scenes in the film because it had no subtlety to it, and it was abundantly clear what was about to happen. Secondly, Jay avoided large groups like the plague, which was probably for the best, but it was a shame as far as the movie goes. Thirdly, imagine if you had the disease and you just so happened to be blind. I would have loved to see someone try to avoid the creature without being able to see it, it would’ve been terrifying and it was a shame that something along those lines wasn’t explored.

• The group really should’ve agreed to have sex with one another, assuming that the idea wouldn’t have completely repulsed them. If they’d have done that then they’d all be at risk, which they didn’t want, but they’d also be able to watch their back from every direction because they’d all be able to see the creature. In the film only Jay could actually see the damn thing! It would’ve been a real advantage to have another pair of eyes on the prize – and the possibility should’ve at least been discussed.

These considerations aren’t criticisms of the film, they simply highlight how strong the premise is. There are so many avenues that the writers could’ve explored in order to make things more interesting, but they kept it simple and made the most of the core idea, creating tension by showing restraint, which was admirable. I’d much prefer to have my horror films presented in this minimalist way than sit through 90 minutes of jump scares. Jump scares are momentarily off-putting, but they have no lasting impact – the psychological attack that this film makes on its audience has longevity.

“It Follows” is a triumph of the modern horror genre. It’s a classic in the making and its quality highlights the potential that the genre has to be entertaining without resorting to found footage or CGI. “It Follows” taps into what is truly terrifying about our lives. It’s a thoughtful look at what we are truly afraid of; the unknown chases Jay down viciously and without rest, destroying her privacy and threatening her way of life. She can’t go to school, she can’t enter crowded spaces, and she can’t even make a sandwich without fearing for her life! This movie shows just how good horror can be if you understand what truly gets under people’s skin – with a wonderful score, fine performances, and a truly excellent premise, “It Follows” excels in every aspect and it has left a lasting impression on my psyche.

8.5/10