What if someone was following you?
Like, they wouldn’t stop. Ever.
This person could take the form of anyone, alive or dead. It could be people you know; family, friends, lovers, anyone. And imagine this person wanted you dead and needed only to reach you for a moment to end you forever? That is the central conceit to the jaw-droppingly fun, exciting and downright masterful new horror film by David Robert Mitchell, “IT FOLLOWS”
What originally looks to come off as another haunted-young-woman-who-everyone-thinks-is-crazy(which of course she isn’t, much to the audience’s enduring frustration) immediately shakes off genre conventions and spends the next two hours surprising the viewer with an unsettling and often quite imaginative ride. One key to this is that you know as little as humanly possible at the outset of the viewing. This cult cuckoo was lucky enough to go into a screening basically blind, having read no synopsis and having never seen the trailer. This, along with the theater being totally empty except for fellow Face Eater, SinisterT and I, enhanced the affair quite a lot. Also, I REALLY wasn’t prepared to experience the best horror film I’ve seen since Whedon and Goddard’s “Cabin In The Woods”. I walked out mouth agape. It is, in my humble opinion, a masterwork. It is creepy. It’s never slow. It is SOOOO atmospheric. It’s riddled with winks and nods to genre conventions, but much like the aforementioned film, manages to work with and around those conventions, never falling victim to them. In this way it additionally serves as a love letter to horror films past. To me, it also recalled Ti West’s underrated “House Of The Devil” as much like that feature, it has a sense of being out of time somehow. The atmosphere is that of vintage 70’s horror, so is the style and the aesthetics. That said, it seems set in modern times but deliberately blurs that perception to achieve it’s retro-horror-effect. And with a score that was obviously immensely influenced by the music from the works of John Carpenter with shades of Dario Argento tossed in for good measure, it absolutely drips with macabre tension.
To go on about the film would largely be a veiled exercise in futility(also, as said before, going into this blind is best) and frankly I’m craving a churro, so just get on up and catch this film while it is still on the big screen. It is one-of-a-kind breath of fresh air to an ever-stagnating genre, crying out for originality. It also begs the question, what the hell has David Robert Mitchell been doing all these years with this kind of talent in him??
KEEP IT CULT