It Follows (2015)
Indie horror is always looking for the Next Big Thing, and at the start of 2015, that movie was It Follows. Coming out of relatively nowhere, the second film by writer/director David Robert Mitchell was dubbed the real deal, and audiences flocked to see what all fuss was over. I would have been intrigued before the positive word-of-mouth namely because Mitchell made one of my favorite films of 2011, the understated and perfectly yearning ode to adolescence, The Myth of the American Sleepover. I dearly hoped that Mitchell was not another flash in the pan. In retrospect, I did not have need to fear. It Follows is unsettling, suspenseful, and borderline ingenious with its concept, but it also has some faults that mitigate its concluding power.
Jay (Maika Monroe) is a normal 19-year-old girl going to college in Michigan until the night she sleeps with her object of desire, Hugh (Jake Weary). In her post-coital mediation, he drugs her, ties her to a wheelchair, and then waits. He wants to show her something, or more accurately someone (perhaps something is actually more appropriate). A woman slowly trudges toward them, the embodiment of a curse he passed on to Jay through sex. It will keep following her until it gets her and kills her. The only way she can protect herself is to sleep with someone else, to pass the curse onto a new recipient. Then the monster goes after them; however, once this newest curse-holder is murdered, the monster moves back up the ladder, attacking the next curse-holder. Once you have it, there’s no getting rid of this curse, only delaying it.
The top question with a horror movie is whether it provides enough suspense, spooks, and scares to jolt an audience, and in this regard It Follows is quite good; not as unsettling as last year’s Babadook but still plenty unnerving and extremely well executed and developed. The opening hooks you, with a teen girl constantly looking in the direction of the camera and clearly scared out of her mind. The camera has adopted the identity of the monster. The central premise is wonderful, rich with thematic potential about the alienation and anxiety of being a teenager navigating the world, but also intriguing enough that I always wanted a large expository info dump scene just to learn more about the rules or its history. Rare is the film, let alone a horror film, where I’m left desiring lengthy exposition. One of the clever developments of its monster is that it can adopt the appearance of anyone, including people close to you (though it rarely does this for an unexplained reason). That means anyone can be your doom and the only way to know is to double-check whether other people can see this menacing phantom as well. Imagine going the rest of your life always having to look over your shoulder, always having a little nagging doubt in your mind about whether or not this person or that person is real. The premise is well developed with sequences that draw out the tension and make us dread what’s coming next or what may or may not be real. Now, slow-trotting fully naked people might not be a scarier monster than, say, Leatherface, but it’s still alarming.
The premise also allows the audience to imagine what course of action they would do if they were stuck in this situation. Would you doom an innocent human being to protect yourself? If so, would you be upfront about it and the ensuing danger? Would you formulate a plan like Hugh and drive long distances to provide further distance? If you thought you were being followed, would you immediately find a sexual partner? The clever premise gets your brain thinking of what you would do to survive and at what cost.
There’s a distinct Stanley Kubrick and John Carpenter vibe with the filmmaking, which will enhance the overall mood of the film or drive certain viewers crazy. The camera movements fall into very few selections, mostly slow pans, slow zooms, or long tracking shots with the subject routinely framed in the center. It’s hard not to evoke feelings with The Shining, an all-time great horror film that likewise built a sense of foreboding terror, and Halloween. You’re conditioned to feel that something bad is about to happen as the camera turns or hovers, waiting for the creepy thing to pop around the corner. It plays into second-guessing everything you see, taking away the illusions of safety, and the steady and controlled camerawork enhances this mood. The entire movie feels vaguely out of time, notably a capsule from the 1980s save for one strange inclusion of a wireless reading device. The musical score by Disasterpeace (nee Rick Vreeland) is another throwback to the 80s, and its fuzzy synth-drenched soundtrack smoothly blends in and enhances the atmosphere.
If anyone caught Mitchell’s previous film, you’ll know that besides a wonderful eye for framing visual compositions, the guy has a very natural feel for developing realistic teenage characters milling about their relatable existences. It Follows is no different, and while I would stop short of saying that the characters have depth to them, they are realistically drawn and portrayed by actors who look and act like scared teenagers. The relatablility of unrequited feelings, or going out on a limb and getting your heart broken, of trusting the wrong people who have ulterior motives, are universal pains that makes it all the easier to put ourselves in these unfortunate character’s shoes. It also helps that, up until the final act, the characters defy the arc of rampant stupidity in horror. After realizing the danger she’s trapped in, Jay actually seeks out the one person who she can get answers from, even if he’s the same person who doomed her with the curse.
It’s unfortunate that the movie loses steam when it creeps into its third act and forces a solution and showdown with the monster that makes no sense whatsoever. I understand the need to feel like the teens can regain the upper hand or somehow outsmart the curse that doggedly follows them, but with everything presented, it’s just not believable. For the entire movie, we’ve seen that this supernatural force doesn’t really have a loophole in its system of rules. The only way to stave off annihilation is to pass it along and create a series of firewalls as protection with other sexual partners. Otherwise, it’s relentless and like zombies the eventuality is what helps magnify the sense of dread. We even see it get shot in a hasty defense from the teens and the gunshots do nothing. And yet, this vital information doesn’t seem to register with our band of teenagers. Their third act solution (spoilers): they’re going to lure the following terror into a pool and… electrocute it. Huh? Why would a supernatural entity that has not shown any weakness to electricity, or any mortal dangers, be able to be killed? This plan makes no sense and not one character voices a counter-argument to what is proven to be a very bad plan. Maybe the point is that it’s supposed to be bad, that it’s an example of how desperate these characters have become that they would hold out hope for something that is completely inaccurate. After this failed plan, Jay does exactly what you’d expect with the boy who’s been itching to jump her bones for the entire movie. He gets what he wants (physical copulation, being the white knight), she gets what she wants (flimsy security), and then the movie just kind of peters out and ends. I understand that Mitchell’s extended point is that there is no happy ending possible and the characters will have to uneasily look over their shoulders for the rest of their lives. However, the point could have been made even without the third act. I wish It Follows could have found a better landing than just shrugging and saying, “Well, what are you gonna do with curses, you know?”
Before the movie hits the skids in the third act, I was pondering the greater implications and logistics of its sexually transmitted curse. Does “passing” it along require some form of genital contact? Does it require fluid exchange? If you wear a condom, does the prophylactic also protect your sexual partner from the transmission? Does the curse function relatively the same for same sex couples? What about people with non-functioning parts below the waste? Can someone who suffers from erectile dysfunction pass the curse along? Can it be transferred onto inanimate objects? Can men ejaculate into some sort of container and then send the container into space via the space shuttle and be protected? Actually, banging an astronaut who’s about to live on the space station or go to Mars might be the smartest move. I enjoyed thinking of a stratagem to best protect myself if I was caught in this scenario; even after passing it along and providing a buffer, you still always have to be on guard for the curse to move back up the ladder. My solution: have relations with a prostitute. This is probably a guarantee that the curse will be passed on within a 24-hour period, and even if that john is found and killed, chances are this prostitute may have already passed the curse along to a new client. If one cannot inoculate themselves from a supernatural STD-like curse with the aid of prostitutes, then there’s no hope for the rest of us poor mortals. Anyway, my mind wandered a tad.
It Follows may suffer due to the hype, the inconclusive resolution, and a third act that deflates, but it’s still an extremely well executed horror thriller with a terrific concept at heart. The sense of dread is stark and the camerawork and storytelling draw out the tension until you feel you’re about to break. It’s more unnerving than traditionally scary, but it has a power that does stay with you, particularly its fascinating premise and the natural relatability of the characters and their choices. I don’t know if this premise could sustain a sequel, especially with a villain that appears to be unstoppable, but that hasn’t thwarted the horror genre before in its stampede at cashing in on success. It Follows is a solidly entertaining and creepy movie, but it’s even more confirmation for me that David Robert Mitchell is going to be a filmmaker who has staying power. I’ll be following him.
Nate’s Grade: B+