Starring: Joel Edgerton, Christopher Abbott, Carmen Ejogo
Directed by: Trey Edward Shults (“Krisha”)
Written by: Trey Edward Shults (“Krisha”)
Post-apocalyptic films have always been a source of intrigue, but recent years have shown a different take on them. While many films in the past have focused on the catastrophic event itself, contemporary films have experimented with deeply intimate and passionate narratives in the wake of these events, instead choosing to focus on the character influence and even ignoring the cause of the event itself. It’s a great way to tell a personal story, and has allowed independent filmmakers to tell a big story on a small scale. It’s perhaps fitting, that indie filmmaker Trey Edward Shults (“Krisha”) takes the idea of a post apocalyptic landscape and creates a moody, tense thriller with his sophomore effort “It Comes at Night.”
Keeping to just his wife and his teenage son, Paul (Joel Edgerton) fights to protect his family from an unknown threat outdoors that has made everyone sick and wiped out the population. When he finds a man Will (Christopher Abbott) in his home, he meets with his family who agrees to allow him to bring his wife and young son to live with them in exchange for food. As the family dynamics change, events begin to make both Paul and Will leery of each other as paranoia sets in and nobody can be trusted.
Though the title, trailers and marketing may suggest that the film is a horror, “It Comes at Night” feels far more like a psychological thriller than anything else. There are some moments of horror with disturbing imagery and a couple of cheap jump scares, but the film is truly effective in its ability to build tension.
The film is boosted by its performances, primarily that of Edgerton and to a slightly lesser extent, Abbott. Edgerton, in particular, plays his role with a sense of desperation that makes his character feel capable of doing anything for the sake of protecting his family. The tension doesn’t necessarily come from the looming threat outside, but rather what is going on inside closed doors and what truths will be unveiled.
It’s also a very well made film from a technical standpoint. It features beautiful cinematography from Drew Daniels that really helps set the tone and mood for the film. It’s well edited, well performed, and for the direction from Trey Edward Shults successfully creates a fully believable post-apocalyptic landscape.
When digging deeper, however, “It Comes at Night” fails to find much below surface level. Thematically, there’s nothing overtly present that makes the film stand out in any significant way. It’s technically sound and is certainly intense at times, but other than creating mood and atmosphere, very little about the film resonates.
Shults is a name to watch out for and has created a thriller full of mystery, intrigue and slow-burning intensity. It feels, however, like a missed opportunity to create something deeper and more meaningful. Instead, “It Comes at Night” plays as an above average thriller about how desperation and protection can push a man to the brink and awaken hidden horrors.