A family of four staying at a secluded mobile home park for the night are stalked và then hunted by three masked psychopaths.more
A family of four staying at a secluded mobile trang chủ park for the n...More
The Strangers: Prey at Night
A family of four staying at a secluded mobile trang chủ park for the night are stalked và then hunted by three masked psychopaths.Bạn đang xem: The strangers: prey at night
Starring: Christina Hendricks
Martin Henderson
Bailee Madison
Lewis Pullman
Emma Bellomy
Director: Johannes Roberts
Get Hulu, Disney+, and ESPN+, all with ads, for $12.99/mo.Get Hulu, Disney+, và ESPN+, all with ads, for $12.99/mo.
About this Movie
The Strangers: Prey at Night
A family of four staying at a secluded mobile trang chủ park for the night are stalked and then hunted by three masked psychopaths.
Starring: Christina Hendricks
Martin Henderson
Bailee Madison
Lewis Pullman
Emma Bellomy
Director: Johannes Roberts
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Ten years is a long gap between a movie and its sequel, especially for a horror movie. That gap, though, seems as if it was enough time for the filmmakers of "The Strangers: Prey at Night" lớn get it right.
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The 2008 original, written and directed by Bryan Bertino, never quite had the courage of its convictions until its bleak-beyond-bleak ending. The problem, though, was that the ending came out of nowhere. Here was another home-invasion movie, in which it seemed as if the villains were simply pranking a couple for an extended period of time (one of the victims of the invasion was the only one khổng lồ kill anyone until the climax). When the masked antagonists revealed their true natures in the final minutes, it came across as a shock in the worst possible way.
In theory, the ending was chilling—the idea that this trio of people didn"t have any rational motive, any supernatural characteristics, or, when the time came, any scruples in killing their victims. In practice, it felt cheap—tacking on a hopeless ending just to lớn make us feel bad.
Bertino returns, as a co-screenwriter this time, leaving the directorial work to Johannes Roberts, who brings a far surer hand & a more striking visual aesthetic khổng lồ the sequel. So much of the success of any given horror film relies on a few aesthetic elements: its atmosphere, its ability to play with light and the shadow, and, of course, location (...location, location—as real estate folks would địa chỉ for effect). From the start, a prologue that breaks its predecessor"s strange sense that the killers might just be toying with their victims, this is a visually oppressive exercise in terror. Save for a few scenes in a brightly sunlit suburb, the film remains that way for the extent of its running time.
Thanks khổng lồ the original, we know by now that the three strangers (played by Damian Maffei, Emma Bellomy, and Lea Enslin), who wear ironic masks or a hood with painted smiles, mean business. The neat thing about this sequel is that it stands on its own. We don"t need to lớn know from the ending of the original movie that these people are heartless, cold-blooded killers. They get lớn work almost immediately in this outing, pulling up lớn an occupied trailer home in an otherwise empty trailer park in their beat-up pickup truck—a peppy pop tune blaring on the radio (Roberts has that tuy nhiên play over the production logos và a black screen, but as soon as the film proper starts, it cuts out with a jolt, as we take in the dim, streetlight-lit scene). As with the original, a few knocks on a door at an ungodly hour of the night starts off a brief, if genuinely creepy, opening.
The rest of the story follows a likable family of four: father Mike (Martin Henderson), mother Cindy (Christina Hendricks), daughter Kinsey (Bailee Madison), & son Luke (Lewis Pullman). They"re on their way khổng lồ that trailer park for a weekend trip, before taking Kinsey lớn a boarding school. There"s tension between the family members, naturally. The parents are worried about their daughter in slightly different ways: Mike is a bit out of the loop but knows something is amiss, and Cindy was in a similar place during her own teenage years. Kinsey resents her parents" decision, as well as her brother"s standing as the "perfect" child. Luke clearly thinks his younger sister is a nuisance, but he wishes for a return to the days when Kinsey was his little sister.
It"s a little surprising how well Bertino và fellow screenwriter Ben Ketai fit in scenes to lớn help flesh out these relationships before the terror truly begins, and, even more surprisingly, during the height of it. (The height of the terror, by the way, is a near constant once it starts). The film doesn"t stop for these moments. They"re built into the rising tension, as the family separates & slowly comes lớn realize that they aren"t alone in the park, & they raise the impact of what could have been straightforward sequences of the killers hunting down the assorted family members, trapping them in enclosed spaces, and getting khổng lồ their bloody work. Two stand out: an intense scene of last-second escape in a cramped bathroom và a parent offering a child what might be some final words. Even more vital khổng lồ the film as a thriller, we have a sense that, unlike the protagonists in the original, these characters have an actual chance against the killers.
All of this heightens the uneasiness, because we like these characters enough in their own, chất lượng ways. They"re good enough that we haven"t even arrived at Roberts" technique yet. It"s impressive on a technical level, with the director và cinematographer Ryan Samul utilizing some lengthy, preternaturally precise zooms (a shot that starts dozens of feet away gets into almost-close-up while still keeping an actor in frame).
It"s even more effective in how well Roberts incorporates the seemingly vast expanse of this location for a series of genuinely scary sequences. The trailers are tight spaces, where any of the killers could be hiding in the shadows or beneath some kind of cover. One will instantly notice the absence of the usual build-up & sting cues on the soundtrack, meaning that we"re never quite certain when the scare will arrive. The fields of the park provide enough sporadic light and distance that we can barely spot a figure or the headlights of that damned truck standing—and then approaching—from afar. There"s a virtuoso sequence at a pool that opens with a subversion of Roberts & Samul"s usually slow zooms. The sequence just keeps going from there, as one of the characters engages in a life-or-death fight with an ax-wielding maniac on the edge of và in the water.
"The Strangers: Prey at Night" is an unexpected anomaly—a sequel that both is better than & fixes the problems of its predecessor. It"s a chilling và genuinely frightening horror film, driven by some solid performances and Roberts" command of atmosphere, location, & relentless pacing.
Mark Dujsik
Mark Dujsik has been writing about film since 2001. He is the sole writer, editor, & publisher of Mark review Movies. Mark was a staff writer/co-critic at UR Chicago Magazine from 2007 until the kết thúc of its print edition in 2008, has written đánh giá for various online publications, & currently contributes khổng lồ Magill’s Cinema Annual.