Written by: Kevin Berge
If only the characters had simply realized the simple solution of just get far away and return once you've got it headed the wrong direction for long enough. (Image Courtesy of: letterboxd.com)
Quick Take: It Follows is an absolutely terrifying film that uses a simple concept to brilliant effect, relying most upon visual horror that is shot in a way that is truly haunting. Even with a lackluster ending and inconsistent writing, it leaves a lasting impression that makes every thought of the film's monster a scare all its own.
***This is a complete review of It Follows that will include analysis of its ending. Thus, there will be spoilers. Those who plan to see it and have not should not read ahead as they will be spoiled on events of the film.***
It Follows is a fantastic movie, but I absolutely did not want to watch it a second time. I was too scared to revisit the monster of the story who is framed so brilliantly that the thought of it makes my skin crawl. I remember every scene it was in and the feeling within the scenes where it wasn't.
The movie focuses on a monster that follows one victim at a time passed along a line of sexual encounters. It never sleeps. It never eats. It never stops. It simply dons any face it wants and walks endlessly toward its target. Despite not being fast or overly smart, its relentless walk is frightening in its threat, promising death at any time.
This is the most basic of horror tropes, an unrelenting monster. This is why the monster in a horror franchise cannot die. It must always be able to keep going and continue killing. "It" may not have real character or be overwhelming in its strength or ability, but the inability to stop its procession makes it frightening.
The point of view that takes on that terror is Jay (Maika Monroe) who is thrust into the role of victim after having sex with her boyfriend Hugh (Jake Weary) for the first time who leaves her to face it alone. Her sister Kelly (Lili Sepe), her childhood friends Paul (Keir Gilchrist) and Yara (Olivia Luccardi), and neighbor Greg (Daniel Zovatto) all try to help her even though they cannot see it.
Perhaps the best scene of the whole film is the first real introduction to the threat of "it". As Jay sits in class, an old woman begins walking toward her through the school halls as no one else sees her. Seeing the old woman's blank expression as she proceeds slowly toward Jay and sends her running out of school and straight home is the perfect showcase of "it".
Over time, it becomes more and more clear how threatening this thing can be. From its appearance in Jay's house, sending her scurrying outside, to its steady arrival at the lake house where it rips apart the landscape in the pursuit of Jay, every appearance of the monster is terrifying and more clear a showing of its threat.
It Follows is a fantastic movie, but I absolutely did not want to watch it a second time. I was too scared to revisit the monster of the story who is framed so brilliantly that the thought of it makes my skin crawl. I remember every scene it was in and the feeling within the scenes where it wasn't.
The movie focuses on a monster that follows one victim at a time passed along a line of sexual encounters. It never sleeps. It never eats. It never stops. It simply dons any face it wants and walks endlessly toward its target. Despite not being fast or overly smart, its relentless walk is frightening in its threat, promising death at any time.
This is the most basic of horror tropes, an unrelenting monster. This is why the monster in a horror franchise cannot die. It must always be able to keep going and continue killing. "It" may not have real character or be overwhelming in its strength or ability, but the inability to stop its procession makes it frightening.
The point of view that takes on that terror is Jay (Maika Monroe) who is thrust into the role of victim after having sex with her boyfriend Hugh (Jake Weary) for the first time who leaves her to face it alone. Her sister Kelly (Lili Sepe), her childhood friends Paul (Keir Gilchrist) and Yara (Olivia Luccardi), and neighbor Greg (Daniel Zovatto) all try to help her even though they cannot see it.
Perhaps the best scene of the whole film is the first real introduction to the threat of "it". As Jay sits in class, an old woman begins walking toward her through the school halls as no one else sees her. Seeing the old woman's blank expression as she proceeds slowly toward Jay and sends her running out of school and straight home is the perfect showcase of "it".
Over time, it becomes more and more clear how threatening this thing can be. From its appearance in Jay's house, sending her scurrying outside, to its steady arrival at the lake house where it rips apart the landscape in the pursuit of Jay, every appearance of the monster is terrifying and more clear a showing of its threat.
It Follows is secretly truly about the only way to get out of the friend zone. (Image Courtesy of: indiewire.com)
This movie is clearly influenced by older school horror films thanks to its grounded atmosphere and threat, but it also feels comfortably unique. It is intelligent in portraying a story of coming-of-age and the end of childhood innocence that would make Stephen King proud.
This movie truly shines thanks to its direction and cinematography from David Robert Mitchell (The Myth of the American Sleepover) and Mike Gioulakis (Split). The lingering images of the movie are honestly more frightening upon reflection than during the watch. It is nightmare fuel with basically no reliance on jump scares.
Mitchell keeps the focus grounded and directs his cast well even if no one truly stands out. Maika Monroe (The Guest) is solid in selling her terror while Keir Gilchrist (It's Kind of a Funny Story) plays a pathetic character with serious likability and heart. The whole cast though do not stand out against the monster.
Perhaps due to the nature of its monster, It Follows has a fairly lackluster finish with a fight at the school swimming pool. After all the set-up of what "it" can do, it suddenly begins throwing around objects and causing mayhem that feels counter to the build up of the monster. The action scene feels unearned.
Moreover, the writing also by Mitchell is inconsistent in its build up with the characters often feeling incomplete. The connections between the group that ultimately come together to fight "it" are never well-established, just trusting the audience to accept they are all friends already.
This movie is reliant on its imagery and concept, and, to be fair, they are both brilliant enough to carry the horror. In more experienced hands, this could have been perfect, but it is far above the usual affair and works well in its most important goal: creating terror.
It Follows should ultimately stand among the classics of the genre with a true knowledge of what is most important to creating horror. However, it lacks the consistent execution that would make it a great film past its base goals.
This movie truly shines thanks to its direction and cinematography from David Robert Mitchell (The Myth of the American Sleepover) and Mike Gioulakis (Split). The lingering images of the movie are honestly more frightening upon reflection than during the watch. It is nightmare fuel with basically no reliance on jump scares.
Mitchell keeps the focus grounded and directs his cast well even if no one truly stands out. Maika Monroe (The Guest) is solid in selling her terror while Keir Gilchrist (It's Kind of a Funny Story) plays a pathetic character with serious likability and heart. The whole cast though do not stand out against the monster.
Perhaps due to the nature of its monster, It Follows has a fairly lackluster finish with a fight at the school swimming pool. After all the set-up of what "it" can do, it suddenly begins throwing around objects and causing mayhem that feels counter to the build up of the monster. The action scene feels unearned.
Moreover, the writing also by Mitchell is inconsistent in its build up with the characters often feeling incomplete. The connections between the group that ultimately come together to fight "it" are never well-established, just trusting the audience to accept they are all friends already.
This movie is reliant on its imagery and concept, and, to be fair, they are both brilliant enough to carry the horror. In more experienced hands, this could have been perfect, but it is far above the usual affair and works well in its most important goal: creating terror.
It Follows should ultimately stand among the classics of the genre with a true knowledge of what is most important to creating horror. However, it lacks the consistent execution that would make it a great film past its base goals.