It's been one hell of a year! Or, y'know, hell on Earth. Whatever.
Let Us Prey. 2014. Directed by Brian O’Malley. Screenplay by David Cairns & Fiona Watson.
Starring Liam Cunningham, Pollyanna McIntosh, Bryan Larkin, Hanna Stanbridge, Douglas Russell, Niall Greig Fulton, and Jonathan Watson. Creative Scotland/Fantastic Films/Greenhouse Media Investment/Irish Film Board/Makar Productions.
Rated 18A. 92 minutes.
In my review for the recent Last Shift, I talked about how it built a sort of supernatural twist out of the simple premise John Carpenter used in his incredible action-thriller Assault on Precinct 13. There’s a certain amount of the small, claustrophobic feel and location in Let Us Prey which owes very much to Carpenter’s film. Otherwise this is its own beast.
Lots of people no doubt came to this film simply because they’re like me and keep up on all sorts of horror films, whether British, American, German, French, or out of any other country. Others probably saw that Liam Cunningham was on the cast list; many recent fans of his come from his role as Sir Davos Seaworth, the Onion Knight, on HBO’s Game of Thrones, others of us recognize him also from things like The Wind That Shakes the Barley and Dog Soldiers. Then, even further, are those who came because they’re big fans of Pollyanna McIntosh from films like Offspring/The Woman, and more recently White Settlers.
Regardless of what draws a viewer to Let Us Prey, it ultimately delivers as both a tense and savage indie horror movie. This one has teeth. Not afraid to use them, either.
PC. Rachel Heggie (Pollyanna McIntosh) is starting on her first shift, overnight, at a tiny police station out in the backwaters of Scotland. As a few prisoners sit in their cells, PC. Heggie and Sergeant MacReady (Douglas Russell – A Lonely Place to Die, Valhalla Rising) keep an eye on things. There’s also PC. Jack Warnock (Bryan Larkin) and PC. Jennifer Mundie (Hanna Stanbridge) who’ve got their own thing going on.
But it’s when a man named Six (Liam Cunningham) shows up at the police station, brought in after seemingly being hit by a car, that everything begins to change. Rachel, her Sergeant, and the other officers have no idea exactly who or what they are dealing with, and over the course of the night Six intends to show them.
I think this review is as good a time to say it as any, given that I find this movie is pretty solid horror.
With any genre really, but in this case horror, my view is that you don’t have to be original in order to be good, great even. As long as you can bring something fresh to even the oldest of concepts, something exciting and interesting, then there’s at least SOMETHING to be mined out of that effort. For instance, like I mentioned about the Carpenter film almost being a prototype for this movie and Last Shift, there’s a way to incorporate that and still be unique on its own. Let Us Prey goes even a much different route than Last Shift, in my opinion, apart from the obvious plot/story differences. What I enjoy here is that there’s horror, yet behind it all there seems to be bits of symbolism. That is to say, other than the heavy handedness in the screenplay by David Cairns and Fiona Watson.
Unfortunately, I don’t get to enjoy it too long. There could have been much more done with all this, instead it ends up mostly as gimmickry for the characters. The barbed wire crown of thorns-style headdress? Obviously a gritty nod to the crucifixion, just fell flat more than anything because it was begging to be used for more than fodder. I’m not even religious, it’s only the fact I feel the imagery/symbolism was there to use and it ended up like discarded pieces of fat trimmed off the meat; good fat, not the useless kind. Anyways, I’m not the one who had the good fortune to come up with this whole plot and story, so kudos to the screenwriters on all the wonderful stuff they DID jam into Let Us Prey.
There are still problems.
I really don’t know exactly why Sergeant MacReady (Russell) turned into the wild religious maniac he did. I guess I do; it doesn’t work for me, though. Totally dig the confrontation between MacReady and Six (Cunningham) where the entire idea of Christianity v. Atheism came out. However, this simply doesn’t account for him going off the way he does. There was some amazingly disturbing subject matter happening in the subplot of MacReady, but it simply wasn’t thought out well enough. All the same, I did enjoy Russell’s performance because he got to go crazy and, though tempting surely, he stopped short of hamming it up.
Part of what I did love here is that this movie is a modern horror with great aesthetic things going on all around; from the visual look to the pounding, unrelenting score.
First off, the cinematography by Piers McGrail, who also shot the excellent looking (though ultimately disappointing) The Canal, is a part of what sets the overall sombre mood and tense tone of the film. Aside from an amazingly shadowy, rich textured look to many of the scenes, the composition of certain shots is absolutely marvellous. Old school style framing with these incredibly proportional shots which can, at times, box you in the way proper horror ought to, anyways.
Second, and just as important, there comes a lusciously composed score out of the mind and hands of Steve Lynch. I’ve never honestly heard anything he’s done, not that I know of, but this score is WOW – downright homage-like, harkening once more back to John Carpenter, and all at once there’s also a totally different quality to the different pieces, a heavier, more terrifying feel. Some moments really gut punch you, in the right sort of sense. Other scenes have this dreadful foreboding skin laying thick over every beautiful shot where the atmosphere seeps into your skin and really entrenches you in the world Let Us Prey presents. Hallmark of a solid horror is always nice atmosphere, in part due to cinematography and score working in conjunction as one creepy unit; this film bears those marks, more than plentifully.
While I don’t agree with certain reviews stating the police station here is a type of Limbo, or anything similar, I think there’s absolutely some Hell-ish stuff which transpires. That leads us into the greatest part about the film: the horror. Pollyanna McIntosh and Liam Cunningham are equally wonderful in their respective roles, but what gets me going about Let Us Prey is good old fashioned horror fun. From the savage antics of Sergeant MacReady, to one of the officers slamming a chair leg through a guy’s head with gory pleasure, there are more than enough moments to satisfy the gorehound horror fans amongst the pack.
The finale is somewhat lacking. Not that I’m a person who needs ALL things wrapped up in the end. However, there’s a bunch of things happening thematically and I don’t feel as if the finale and ending do enough for me in terms of closing off those themes, ones they started in on initially, so there’s a copout in that sense. I didn’t want a bow on top and a neat little present of an ending – there’s something missing. I can’t say what, but the Cairns/Watson script needed a more suitable finish, which left me walking away lacking.
Let Us Prey is a 3.5 star film, for me. The script leaves me a bit lukewarm by the end, but the performances are really great all around – even from the smaller roles – and the horror is downright nasty, as well as relentless for a good deal near the end. The problems I do have with the script are relatively minor. There’s enough tension and excitement throughout this awesome Scottish indie to keep anyone interested. If not, well there are nice frilly little action movies with bright shapes and colours for you to look at: over here we’re watching brutal horror movies!
Last Shift. 2015. Directed by Anthony DiBlasi. Screenplay by Anthony DiBlasi & Scott Poiley.
Starring Juliana Harkavy, Joshua Mikel, J. LaRose, Natalie Victoria, Sarah Sculco, Kathryn Kilger, and Mary Lankford Poiley. Skyra Entertainment.
Rated R. 90 minutes.
Marketing has dubbed Last Shift as a cross between Satanic style horror and John Carpenter’s amazingly tense/low key thriller Assault on Precinct 13. Now it’s not a copy, regardless of how the trailer might have you feeling. Absolutely the setup to this film is directly mirroring Carpenter, but that’s about where the similarities end. The premise itself stands as something lifted from that movie. After all the initial bits of the story stand in place, the foundation of what’s to come, things change and drive further into horror than Assault on Precinct 13, which was savage in its own right but more in the vein of nasty thrillers.
As far as Anthony DiBlasi goes, I’ve personally enjoyed some of his previous work. At least what I’ve seen. I absolutely LOVE his screenplay adaptation of Clive Barker’s short story “Dread”, the film as a whole is chilling and effective. Furthermore, I thought Cassadaga was an equally nasty follow-up; not without faults, but an interesting horror movie. Having not seen his other films, such as Missionary and the segment “Mother May I” from The Profane Exhibit, I can’t say I’ve been a fan of all his work. However, I think he’s a decent hand in the modern horror game. Not at the top, though, he’s certainly got a lot of strengths as a horror filmmaker.
Last Shift has flaws, the writing is not as good as it could be, nor is the acting from Juliana Harkavy or Joshua Mikel always at the level of emotionality and range it needs to attain in order to match the horror aspect’s intensity. Either way, this is a solidly unsettling horror movie that wears its bloody entrails on its sleeve, and even when the swings for the fences strike out, I think DiBlasi does a real good job crafting a unique film. Part homage, part haunted house film, Last Shift might get to you at times.
If you let it.
A rookie cop, Officer Jessica Loren (Juliana Harkavy) is left on duty at a police station overnight. It’s closing time for this cop shop, the one already ready for operations. By herself, Loren needs to wait for a pick-up by the Hazmat team; they’re coming to take something out of the station’s armoury.
What Officer Loren does not know about is that the station is haunted. A year before, cult leader John Michael Paymon (Joshua Mikel) and a couple of his followers killed themselves – a year to the day. Loren is forced to confront the terrifying presences at work in the station, all by herself on the last shift.
One thing I’m always harping on about in my reviews is atmosphere, mood, tone. I’m a big fan of all these things; some might say atmosphere is mood and tone, I think they’re different things. Regardless, Last Shift does an excellent job from the start in terms of atmosphere – even in the first scenes between Loren and the sergeant, I thought there was this spookiness about everything, a sort of sterile look to the station and just this lingering air of dread about these moments. This continues on, as some of the things we see starting out are shots of Officer Loren walking the halls of the station alone, the cold and lifeless halls around her – very quiet and subtle bits.
A great eerie scene comes quick before we’re even 20 minutes in. Loren finds herself in the locker room of the station. First, she picks up a picture of her and her father in a locker, she ends up placing it back behind the shelf. But secondly, as she turns, Loren almost smacks into an open locker door right next to it… only to discover every locker door is open in the whole room. It’s a really easy scene, yet I found the quietness of it all chilling. The way Loren sort of pauses, looking around, the moment lands and sets under the skin. Also, it’s not played as a jump scare, like it may have typically been done under direction of another filmmaker, or in another script. Instead it’s a nice little thud in the chest. Afterwards Loren has to go on about her night, but both she and the audience can feel the tone of the film really setting in with these creepy build-ups.
Lots of people have their opinions on what’s scary or what’s not. Personally I don’t get jumpy when terrified, no movie has ever lifted me out of the seat I’m in. However, I’ve walked away from plenty films (and I’ve seen hundreds and hundreds of horror movies) feeling like I really want to check behind the shower curtain, or make sure my doors are locked, windows are shut, and so on. I’ve crept around with a knife once or twice from being so unsettled by horror. Not afraid to admit that. If you’ve never been affected that way, at least ONCE, then you may be dead. Seriously: check your pulse.
What Last Night does effectively is use the atmosphere of dread DiBlasi conjures up and levels you at times with legitimately eerie imagery. At times the dialogue lags, as does the plot, but I think just about every solitary second of horror comes across as vicious. It’s excellent, most definitely my favourite part of the entire movie.
Like the moment when Officer Loren realizes SPOILER AHEAD BIG TIME Officer Price (Matt Doman) is dead, a hole through the back of his head. END SPOILER!
I found that one real top notch moment. Mostly because I honestly didn’t expect it. There was a genuine moment between Loren and Price, as if they were bonding like two real police officers over the job, its duties, the daunting tasks it requires often. Yet it took a whole other turn, which was well done.
After this the horror imagery continues in large doses. This is probably the ultimate turning point in the film, where the screenplay takes things down the rabbit hole, so to speak. Officer Loren basically descends into a hellish place after her meeting with Officer Price. A sound of voices leads her down the hall to where a group of women sing together, sitting in a half circle wearing strange bloody masks made of white sheet. But a second later… they’ve disappeared. From there things get progressively more horrific for Loren.
What’s so fun, to me, about this movie as a whole is that it takes the beginning of Assault on Precinct 13, subtracts a blood oath from a relentless street gang and adds in a Charles Manson rip-off cult, a dash of Satanism, and makes it into a haunted house styled horror movie; set, of course, in a police station. So the station is like our everyday haunted house, Officer Loren the unfortunate soul who has to “spend a night inside”. This is obvious to everyone, but it’s still one of the major aspects of Last Shift which appeals to me.
The screenplay could have been better, as well as the acting overall. Still, I think Last Shift deserves 3.5 out of 5 stars. It has definite claws, and I found myself unsettled at times. If only the acting and the characterization were a little better, I think this could’ve been an amazing horror movie. There’s no doubt either way, but I wish Anthony DiBlasi worked out some of the dialogue better, as well as added a bit more character to Officer Loren; she wasn’t a helpless female archetype, however, I thought with her being a police officer and all she might have been a bit more tough of a character than she ended up being. Not saying you can’t have a weak police officer, I just think at times it would’ve been more interesting to have her be tough, hard headed, and not falling so much prey to the ghosts and the horrifying images haunting her.
Ton of nasty, excellent horror here! Despite any reservations about the script and the acting, and they’re only slight, Last Shift proves to be a solid horror film with savagely effective makeup effects, nice atmospheric mood and tone throughout, and some disturbing psychological thrills set inside a claustrophobic location used to the director’s advantage.
Assault on Precinct 13. 1976. Directed & Written by John Carpenter. Starring Austin Stoker, Darwin Joston, Laurie Zimmer, Martin West, Tony Burton, Charlie Cyphers, and Nancy Kyes. Image Entertainment. Rated R. 91 minutes. Action/Crime/Thriller
★★★★ (DVD release)Assault on Precinct 13 is one of the best action thrillers of all-time. It’s probably my personal favourite if I had to pick one. John Carpenter crafts an incredibly tight story about a band of police and criminals forced to fend themselves off from a street gang who’ve taken a blood oath against the police; all the while, the rag tag gang of cops and robbers are trapped inside a near defunct precinct in an isolated area of Los Angeles. Everything is set off in the beginning after a police ambush a number of gang members, killing them, and prompts the remaining gang members to take a blood oath against the Los Angeles police force. It’s basically a siege-type film.
Carpenter has always been an open fan of the Western genre, as well as a lot of the old & great Hollywood epics because he grew up watching a lot of classic filmmakers’ films. More specifically, he’s also a huge fan of Howard Hawkes (director of such classics as the original Scarface, the William Faulkner-written The Big Sleep, Rio Bravo, & more). In the audio commentary for this movie he actually talks about Hawkes in regards to the cigarette gags ongoing throughout Assault on Precinct 13; he attributes this as an homage to Hawkes who frequently did all sorts of cigarette-related gags. The reason I bring this up is because Carpenter really wrote this movie as more of a Western, but set it in the contemporary world of a ghetto-like area in Los Angeles during the 1970s. You’ve got the story of a new cop coming into town – his first day is looking like it’ll be a boring one & then suddenly he’s fighting for his life. There are a lot of little elements in Carpenter’s film which pay homage to his love for Westerns, as well as the (excellent) tropes of the genre.
I think one of the things that really amazed people when this first came out was the level of brutality Carpenter chooses to show us. By now, anybody who is either a fan of his or a movie buff has seen/heard about the infamous “Ice Cream Truck Scene” – this contains one of the more shocking images in an American film during the ’70s, no doubt about it. I don’t want to go ahead and ruin for those who haven’t yet seen Assault on Precinct 13. Just know, it is a real doozy. Even now today, after all the horror and disturbing films I’ve seen over the years (4,000 films later & counting). This scene still gets me. There’s a chilling quality to it that grips you and doesn’t let go. It also really sets the tone for these brutal gang members. Yeah, sure – we know they’re hardcore. They’ve taken a blood oath to kill all the police in Los Angeles. But to do what they do in this scene is downright savage behaviour. It really sets them apart from most killers that turn up in action-thrillers. I mean, Hans Gruber was pretty god damn bad ass, but he never killed any little girls or anything.
In the best of Carpenter’s films there is a layer of tension underneath every inch of the plot. He moves the pacing of Assault on Precinct 13 along slowly, which helps build up the suspense and tension. He does this in a few of his best movies. With this one, he makes the important move of putting the time in the corner of the screen every so often in big bold white lettering – this might seem arbitrary, but it’s not. Carpenter uses this visible clock to enhance our feelings of suspense. We watch as the gang keeps moving across Los Angeles, further towards the precinct, and we watch as those in the precinct go about their night without any knowledge of what is headed towards them. The clock continues to move, and it keeps us on the edge, guessing.
Eventually, once things start to move into the action scenes, it really works well because Carpenter throws us from a tense atmosphere into thrilling, and often pretty violent, scenes where the gang is just running the gauntlet on this rundown, ready-to-close precinct. I think Carpenter is a master at pacing. Assault on Precinct 13 is a master class in tension. Excellent work.
There are a few really iconic shots in this film. I really love the way Carpenter shot most of his films, especially the earlier work. There’s a shot nearly halfway into the movie when a man whose daughter has been murdered by the gang flees some of the members and runs to the precinct. It all starts as he stands in an isolated telephone booth. There’s nothing but the booth and the darkness looming everywhere. Carpenter gives us a nice wide shot, but tightened in a bit on the man in the booth; from behind him in the darkness suddenly appear several members of the gang, literally as if out of nowhere. It’s one of those great classic, and creepy, shots Carpenter is known for – he does this sort of thing in a few other films like Halloween and The Fog, where they are also really effective. There are a bunch of great moments where Carpenter uses the shadows, as the gang encroaches further and further onto the precinct property. It sort of kick starts the adrenaline while maintaining a slow pace. Then gradually the action ramps up and becomes more exciting. Carpenter is really one of the greats when it comes to the overall composition of a film and how smoothly things transition from one point to another.
One of the best aspects of this film is the score itself. The main theme of the film is just absolutely amazing. An excellent special feature on this DVD release from Image Entertainment is the Isolated Score from Carpenter, who did the score himself using what I’d assume to be a synthesizer. It’s really bare bones stuff, but it works for this film. There isn’t anything fancy here in the sense of ‘flash’ – anything fancy here comes from very practical means at the hands of a practical and talented director such as Carpenter. The score is perfect because it doesn’t overpower the film; it works in conjunction with the images and the pacing. It’s a great underlying layer beneath everything else, and it’s also one of those scores that will absolutely have you walking away humming. After I watch this, I always go around for a day or two humming the main theme. It’s so damn catchy. A lot of the modern retro scores you hear using synthesizer have a lot to owe to Carpenter – he made it cool to do your own low key, electronic scores. Definitely inspired more than a few filmmakers out there.
John Carpenter is one of my favourite filmmakers, and Assault on Precinct 13 is absolutely one of his best films, though it’s hard to choose a definite favourite. This is a really great exercise in suspense and tension. It’s also one of the best examples in film of action done correctly – there’s no need for a massive budget or the biggest names in Hollywood or the wildest effects ever – Carpenter proves ideas and creative execution are the main components to a successful action thriller. While a lot of action is often filmed by flashy directors, Carpenter is a more subtle and interesting filmmaker who makes unique choices, and his number one focus is how to make things look good while still being thoroughly entertaining. He’s certainly one of the best in the business. I’ll repeat that as much as possible.
This DVD release is not perfect. However, the picture is really flawless, I must say – looking forward to picking this up on Blu ray soon, too. The sound is great. Carpenter’s score comes alive on some nice speakers; the Isolated Score option is a real treat, as well. I could listen to the score over and over. Gets me pumped up. A few of the effects look especially awesome on this release. Plus, we get a good audio commentary from Carpenter. Though, I wish there were a few more bits, I’m still satisfied overall.
I really suggest any fans of action-thrillers see this original – the remake isn’t horrible, but does not do this amazingly tight film justice. The DVD release is pretty good, but I bet the Blu ray is even better. Give this a chance, as opposed to the Michael Bay flashy action stuff (not to rag on him – there are plenty others less famous than he who perpetrate the crime of glossy imagery over character and plot). You’ll really be doing yourself a favour. Soak it up – everything here is pure cinematic gold, and real old school filmmaking at its finest.
The Guest. 2014. Directed by Adam Wingard. Written by Simon Barrett. Starring Dan Stevens, Maika Monroe, Brendan Meyer, Sheila Kelley, Leland Orser, and Lance Reddick. Picturehouse.
Rated 14A. 99 minutes.
To begin, I’ve been a fan of Adam Wingard a long while. I think the first time I actually saw one of his films it was A Horrible Way to Die, which I recently got on Blu ray and enjoyed again to the fullest. After that I got the chance to see both Home Sick and Pop Skull within a couple days. Though I enjoy his later work more, I still really dug those films. Wingard really has a different sensibility about the way he makes movies than a lot of new, young horror directors. Not to mention, Simon Barrett, who has been writing films for Wingard since, I believe, A Horrible Way to Die. Barrett is a really interesting writer; another of his works I enjoyed before his partnership with Wingard is the creepy Confederate gold horror Dead Birds. Together, the two of these guys are a great pair as writer-director partnerships go. Especially in the horror genre. I think these guys continually prove they’re the next big thing (hell – I think they’re the big thing right now) in horror.
That being said, after You’re Next, Barrett and Wingard have moved onto a slight change of pace with The Guest.
This story follows a young soldier named David (Stevens). The film begins as we follow behind him, jogging. Soon, he reaches the home of a soldier he knew, Caleb, who recently died. David tells the family Caleb wanted him to find them and give them his love. David also says he promised Caleb he’d do anything possible to help them. Anna (Monroe), Caleb’s sister, seems suspicious. However, the rest of the family, especially the mother (Sheila Kelley) and younger brother (Brendan Meyer), take a liking to David. Even some of Anna’s friends, including a sleazy sort of dude named Craig (a nice small role played by Joel David Moore), think David is the best. Eventually, David’s past comes back to haunt him. People start dying.
And soon enough, Anna starts finding things out about David; dangerous things.
The movie plays out like something we’ve seen before, and yet The Guest feels different. A lot of people focus on it seemingly being a throwback to 1980s action-thrillers, and also some of John Carpenter’s works specifically, which I agree; a lot of this film seems very much inspired by the look of Carpenter, as well as the feel of certain action movies from the 80s, most specifically probably The Terminator. Regardless, The Guest is not some 80s rehash. It’s a smart little thriller with the entertainment of thrillers we’ve known before. Yes, there are influences here. Yes, the soundtrack is most certainly a heavy lean towards the 80s.
But Barrett and Wingard both are too clever to make this just a throwback piece.
For anyone who has not actually seen The Guest yet, what I’m about to say in the next little bit has a huge SPOILER in it. So, if you’d rather not have the film spoiled, and I’d rather you not because I don’t want anyone complaining when I’ve clearly forewarned them (even though I think the whole concept of ‘spoiler alert’ is ridiculous – if you don’t want anything spoiled, stay away from the fucking internet), PLEASE TURN BACK.
So, one of my favourite pieces in the entire movie is nearing the finale. Just as things start going haywire for David, he and Mrs. Peterson (Kelley) are in the kitchen, taking cover from gunfire and such. I honestly believed David was going to protect the family. I figured we’d be treated to a massive shootout, as well as maybe a few hand-to-hand combat scenes. Instead, Barrett subverts those expectations, and David instead stabs Mrs. Peterson just before she yells to the men outside the house as she figures out his intentions. I really didn’t see that coming. Also, I think this is really clever because even earlier when David kills two other people, we don’t necessarily switch him to the bad guy. We’re still wondering what exactly is going on with him; maybe the government has done his head in, maybe they turned him into a killing machine without the off switch – who knows?
But once David kills the mother, all bets are off. We now see him as an unstoppable force. He strategically snuffs out any single person who may, or possibly may not, it doesn’t matter, become a trail leading back to him. Then from this point on things get even wilder.
This is one of the many reasons I really enjoy The Guest. Another thing – Wingard avoids going for some extended, unnecessary sex scene during a party in the film. Whereas a lot of other filmmakers might make it into a whole scene, Wingard keeps it at a very brief few shots, which gives us enough information to deduce that, yes, the two characters indeed have sex.
It’s not that I’m against sex scenes. In fact, I’m not at all. I think if the plot provides a moment where a sex scene is organic and natural, then why not? But on the contrary, if there is no need for it, if it doesn’t serve the plot or characters in any way, then why include it? Only makes for a bit of fast forward. You can either have sex or watch it on the internet whenever you want – it doesn’t need to be filler in a movie. Not for me anyways. Kudos to Wingard for not falling into the same old traps other filmmakers do. Instead, he uses every scene, every shot, because they’re all meant to be in there. Signs of a good filmmaker, in my opinion.
I really enjoyed Dan Stevens as David. I’ve never personally seen him in anything else, though I know what he’s done. His portrayal of this character was incredible. He swung between charming and handsome, to dark (still handsome) and brooding. There were times he genuinely chilled me with a few of the looks on his face; not even his words, just expressions. I think I’ll definitely have to see some of his other work. Great casting.
Though there are a few small performances I enjoyed (Ethan Embry as a small-time arms dealer, Joel David Moore as the burnt out Craig, Lance Reddick as Major Carver, the always unique Leland Orser as Mr. Peterson), the one other performance aside from Stevens I enjoyed most was Maika Monroe. She did a wonderful job as Anna. Again, I don’t ever really recall seeing her in anything else, but she was great here. This could’ve easily been played badly had they cast someone else, however, Monroe turns the character of Anna into someone less-angsty and a bit more intelligent than most young characters we see in horrors, action-thrillers, and the lot. Also, she gets to utter the final line – I absolutely love it. The way she says it, the three words themselves; it all puts things perfectly in perspective. Another great instance of casting. She and Stevens played well off one another, as well. Some really great scenes between the two.
The Guest is a fun and weird ride through what could have been a typical action-thriller, but instead comes off as the next legitimate step on the path towards greatness for Adam Wingard and Simon Barrett. I think this is not only better than most action coming out post-2000, it’s also just one of the better action-thrillers I’ve seen. I recently rewatched The Terminator on Blu ray (and I probably consider that to be the best action-thriller ever), and I can honestly say, for me, The Guest ranks up there with that film.
I love the dialogue, as I usually do in movies scripted by Barrett; I never find myself stopping and wondering why someone had to say that, why the screenwriter left this in there, et cetera. The plot is a lot of fun, and Wingard really executes things well. He is great with a lot of the handheld work in his previous films, but I think with the bigger budgets his and Barrett’s talents have started bringing in his films will start to see more and more stabilized framing. Not to say handheld isn’t good, or that Wingard isn’t good at it (the opposite – as I said he is great), I just think with The Guest, Wingard proves he is capable of true beauty with more steady framing and shot composition. There are just absolutely magnificent shots here; one such action-style shot is when Craig (Moore) is running away from David, who lets him go, and eventually picks him off with a headshot from long range. Just really great and twisted stuff.
The Guest will be on Blu ray January 6th, but is also going to be available for purchase as a Digital HD release on December 16th through VOD services. As soon as you can, check this out. I’m looking forward to the Blu ray because this is a gorgeous looking film with great camerawork, a killer soundtrack, and some top notch performances.