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It Comes at Night (2017)

Like an earlier harbinger of the potential pitfalls of mother! marketing as something it’s not, the vaguely apocalyptic drama It Comes at Night is a paranoid thriller that is so bleak and absent resolution that you’ll wonder why anyone bothered. It’s not a bad film, and actually writer/director Trey Edward Shults has a knowing command on how to raise and develop tension with very precise camerawork and visual composition. The slow inspection of offscreen noise is still ready to build tension. The story has promise. Joel Edgerton is the father of a family trying to eek out an existence after the spreading of a deadly plague. He has a strict series of guidelines to protect his family members and keep them secure. This is put into jeopardy when he meets another family and invites them into his home. The rest of the film follows the slow dismantling of trust and the rise in suspicion and how it ruins both families. That’s essentially the movie. There is no “it” of the It Comes at Night. The post-apocalyptic element is at best tertiary to the plot, and the titular warning seems odd considering sickness can arrive at all hours. I think the reason audiences seemed to froth wildly at the mouth over this movie is due to its grossly misleading marketing. I re-watched the trailer and all of the supernatural imagery, which is extensively highlighted, is from dream sequences, and one dream sequence within a dream sequence. There’s a moment where the grandfather’s dog runs off into the woods at barks at an unseen force. You hear strange sounds but you never see anything, and this becomes just another unresolved, underdeveloped element. This is more a Twilight Zone parable about the destructive nature of man. The look of the film is moody, the performances are good, but I felt underwhelmed by the end and questioned the point of it all. It Comes at Night is okay. I can’t see what people loved and I can’t see what people hated, though I can see more of the aversion.

Nate’s Grade: C+

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