A list of home invasion horror to rattle your bones while you're home alone on spooky October nights
James Foley's 1996 film FEAR is an example of the damage men do when they treat women and girls like property.
Intruders. 2015. Directed by Adam Schindler. Screenplay by T.J. Cimfel & David White.
Starring Beth Riesgraf, Martin Starr, Rory Culkin, Jack Kesy, Timothy T. McKinney, Joshua Mikel, and Leticia Jimenez. Black Fish Films/Campbell Grobman Films/Jeff Rice Films/Vicarious Entertainment.
Rated R. 90 minutes.
Home invasion thrillers, horrors, whatever – they can be tiresome. It’s one of those sub-genres where the typical often overtakes the innovative. Usually by miles. Of course, all too often, these movies fall into the trap of thinking graphic means scary. Whenever I go into a film knowing it has the setup of a home invasion I’m always leery because there are usually a number of movies that get ripped off. So I wonder how long it’ll be until more brutality comes, in which form it will, how explicit and nasty it will be; I wait for the same carbon copied characters; I know there’s a ton of hypermasculine alpha male dialogue and/or acting to come.
Intruders (also billed as Shut In) subverts at least a few of those expectations. While the script itself is far from excellent, I found the story enjoyable. And best of all there’s no rape-revenge angle, which is common these days among horror thrillers since remakes of I Spit On Your Grave and Last House on the Left hit theatres. The lead role is taken on by Beth Riesgraf, whose character doesn’t have to be abused for us to side with and whose fight to survive isn’t preceded by some hideous sexual act. We get to experience a female protagonist who isn’t your typical character. Plus, the fact Martin Starr and Rory Culkin both turn up in decent roles is a lot of fun. With a few twists and turns, several drops (ahem – gushes) of blood, and a plot that turns the regular home invasion thriller on its head, Intruders is a wild ride worth taking once.
Anna Rook (Beth Riesgraf) is an agoraphobic. She can’t go outside, barely making it two feet from the front door without beginning to go dizzy, to shake uncontrollably. When sick brother Conrad (Timothy T. McKinney) dies, she is left all alone. Faced with the big house to herself soon trouble comes knocking. The only person she usually sees is delivery boy Dan Cooper (Rory Culkin). But now there are men breaking into her house.
Even worse: turns out Dan knows them, he told them about money she has inside. However, the men breaking in don’t realize there is so much more to Anna and the house within that they don’t know. So much they’re about to find out, in the most brutish, vicious manner possible.
Starting out, Intruders feels like it’s going to go routinely. By the numbers sort of stuff. Quickly, though, you start to figure out Anna isn’t merely the victim we expect, or that the men breaking into her house expect. In fact, a lot of expectations are subverted during the film. Even after we first start to figure out Anna is different there are layers to exactly how different she is, and those lessons come, each more exciting than the last. The complex layout of the house reveals itself, which is interesting. There is a weird story behind it all. A totally strange version of the home invasion thriller. Suddenly Anna’s agoraphobia turns into something else wholly. The nature of what Anna and Conrad were doing in that house is an insane trip after it comes out. Not what I’d expected, whatsoever. Further than that, the reveal gives the final 20 minutes or so an extra pull of tension. The suspense is excellent here and I thought the finale was fairly decent.
Overall, the acting is good. In particular I found Riesgraf entertaining. She made the character Anna vulnerable at the right times, then predatory and almost wild at others. There was a nice balance between the two sides of her personality, which helped with the plot and the story revealing itself throughout the course of the film. Added to her there’s Martin Starr, who I usually expect to play a weirdo role and here he is kind of a bad dude. Either way, he plays it well. He can be menacing when he wants, but more so in the dirtbag criminal type of way. Also, Rory Culkin, someone I enjoy personally, adds his touch to the cast with the character of Dan. He is a tough character at first. Slowly I found myself feeling for him in a couple scenes. Culkin is a solid actor and this small part suited him. The others in the cast played well and they helped the movie along, nobody stood out as having not given their best to the roles. Even Timothy T. McKinney was great in the brief performance he gave as Anna’s brother Conrad, and when you’ve finished the film go back to his scenes; they take on a bright new light.
The beginning comes on strong and, in the pacing, there’s a little something lost in the shuffle. Nothing major, but if the movie had added an extra 5 minutes even at the start there would be a more solid flow. That being said, Intruders is a definite 3&1/2 star film. Again, as I mentioned, the subverting of expectations in regards to the usual things we see from home invasion-style thrillers is a huge part of why this succeeds. Had the screenplay gone all the expected routes, I’d toss this aside as highly mediocre. But I can’t do that because there were a few great twists I’d not seen coming, at all. I wasn’t throttled with surprise. I was pleased to see where the screenplay took things. Though it could’ve used ironing, most of the writing is pretty solid. See this one when you can and expect a few shifts from the road mostly traveled by other similar movies.
Knock Knock. 2015. Directed by Eli Roth. Screenplay by Guillermo Amoedo/Nicolás López/Eli Roth; based on the 1977 film Death Game, story by Anthony Overman & Michael Ronald Ross.
Starring Keanu Reeves, Lorenza Izzo, Ana de Armas, Ignacia Allamand, Aaron Burns, and Colleen Camp. Black Bear Pictures/Camp Grey/Dragonfly Entertainment/Elevated Films/Sobras International Pictures. Rated 18A. 99 minutes.
I’ve been a fan of Eli Roth ever since Cabin Fever. Say what you want about that movie, it’s a fun little modern horror; not for everyone, but it isn’t bad. Not in my mind, anyways. Then when Roth came out with Hostel, the game changed and I realized his brand of horror was the shocking sort – yet not for shock’s sake, rather it engages you viscerally to a point, mostly, where you find yourself immersed in the experiences of the characters. Every one of his feature films I’ve enjoyed so far – waiting patiently in my little nook of Easter Canada to see The Green Inferno – and even more so, I think Roth has great talent as a producer, having helped films like The Last Exorcism, Aftershock, The Sacrament, as well as most recently The Stranger and Clown each of which were pretty fun indie horror movies.
With his latest, Knock Knock, Roth takes the 1977 horror Death Game from director Peter S. Traynor and modernizes things slightly, giving our latest generation (of which I’m near the tail end) a home invasion film with plenty of sharp teeth and even one sassy, satirical tongue.
There are plenty of differing opinions on Keanu Reeves and his merit as an actor. Honestly, from a completely personal point of view, I’ve always loved him. Partly that stems from my childhood love of Bill & Ted’s Excellent Adventure/Bill & Ted’s Bogus Journey. But seriously, River’s Edge, Point Break (it’s not a great film but a solid action effort), My Own Private Idaho, these alone impress me enough to say Reeves is a quality actor when given the right material; then there’s The Matrix, to which I’d argue I honestly don’t know if anyone else could’ve done Neo in the cool, at times disaffected, and slick way Reeves pulled it off.
But right from the beginning of Knock Knock, I found myself drawn into his character, Evan Webber. In particular, the relationship between Evan and his wife Karen (Ignacia Allamand) feels so natural, very real. The way they acted with the kids, their little moments together alone, it was all great writing fused with proper acting from Allamand and Reeves.
Then once the girls show up, things get super interesting. At first I didn’t get into their performances, honestly. After a little while, Lorenza Izzo and Ana de Armas began to impress me, bit by bit. They really keep things feeling off-kilter, in a truly proper way. Both of them are creepy almost from the get go, though, subtly, not at all in an outright sense. Furthermore, the chemistry with Reeves and the girls is electrifying in certain scenes – the way his thumb shakes, hovering around his phone as he nervously checks to see how close the Uber ride is to the house, it’s just about perfect. Lots of good stuff in the little gestures.
Ultimately, Evan Webber brings dangerous and the unpredictable into his life. He could have thrown those girls out of his house once they started coming onto him. He could have walked away. So, in the end, Evan doesn’t deserve the extent of what comes to pass, however, he absolutely could have made sure he didn’t end up in the situation he did. When he wakes up into the madness of his infidelity’s aftermath, there’s part of me that feels bad because you can see, immediately, his regret is vicious. At the same time, most of me says “fuck him”.
And this is part of why Knock Knock is interesting and unnerving. Roth places us in the uncomfortable position of hating what Evan has done to his wife and family by cheating, while also not being able to reconcile his stupid act of infidelity with what these two girls inflict upon him. Things get even worse when the girls reveal they’re underage, threatening Evan with revealing his statutory rape; sure, he didn’t know, but Mr. Webber also made no attempt to stop what was happening, not knowing these girls, not knowing how old they were, what kind of people they are, et cetera. One reason I do enjoy this movie is because Roth plays with us, much like how the girls play with Evan.
The film takes it turn from erotic thriller to dark horror once Evan drops the girls off and they eventually make their way back to his place, sneaking in, then knocking him out. I found the following scene immediately brings a sneaky, creepy factor, more than any point before, with Genesis (Lorenza Izzo) sitting at the vanity putting on dark makeup around her eyes while Evan struggles tied up on the bed in the background. Things get rottenly disturbing, in such a perfect way, after this point. Bel (Ana de Armas) strolls in and psychologically tortures Evan, wearing his daughter’s schoolgirl uniform, her panties, and calling him Daddy. It’s so perverse, so unnerving, it works wonders. All the while Genesis is still in the background, trying on makeup and jewelry, writing on Evan’s wife’s vanity mirror with lipstick (aptly she prints “It was not a dream!“). This entire sequence is great, it destabilizes the viewer and takes us into scary territory. One of my favourite small moments is when Genesis walks through the dark hallway, running her finger along the wall and slightly tipping the pictures, they swing back and forth a little and she walks on; something weirdly chilling about this brief shot.
Genesis: “How many family men have survived this game?”
Genesis: “What was that?”
There’s not as much outright bloody and gore as you might expect for an Eli Roth horror film. While the disturbing, nerve wracking aspect of Knock Knock is almost perpetually present from the moment Bel and Genesis show up to the finale, there isn’t a ton of that Roth nastiness.
Although, I did find SPOILER ALERT how poor Louis (Aaron Burns) went out/how the girls papier-mâchéd his corpse was pretty raw! I’m not saying there isn’t any of that archetypal Roth style here, there certainly is. I’m just surprised. I honestly thought this would be another full-on bloodfest. Even during the finale, with all the psychological horror mixed with a few bits of very physical violence, I expected gore to start pouring out, and still Roth restrained himself from devolving into that sort of horror. Instead, I feel like the psychosexual nature of the plot, all the terrorizing of Evan, it made things more devastating than if Roth and his fellow writers had gone for something more vile, more “torture porn” (boy do I hate that label but it works). Because again, in the end, I didn’t want to see Evan be killed or even tortured. As much as what he did was wrong, his infidelity is awful, there’s still that part of me, of us hopefully, which does not want to condemn him to death; his situation is murky, full of all sorts of twisty, turning, messy bits.
Death, though? I don’t believe, despite all his flaws, his terrible mistakes, that’s the most fitting punishment. Having his infidelity revealed, even having him arrested and his wife leaving him, taking the family, et cetera – those are are appropriate. But death, no. In the process of Knock Knock, I think the film will reveal the sickness in the viewer: did you want him to die for cheating on his wife with two underage girls, or were you conflicted yet didn’t want to see Evan murdered? Very telling film, which dives into many aspects including how we as an audience judge the characters and their decisions within a filmic space.
I won’t reveal the revelations in the last ten minutes. Some of what I’ve said will change with those pieces, some won’t all the same. Find out for yourself and let me know what you think/feel!
All in all, I’m giving Eli Roth’s latest psychological horror-thriller a 4 out of 5 stars. This is a heavy, brutal piece of cinema, which is a remake of Death Game and also its own film. There’s something different about this movie than the other horror movies Roth has done. Bits of Knock Knock are straight up erotic thriller, while so much of the rest is downright disturbing horror. Most of all, Roth taps deep, far into extremely uncomfortable aspects of humanity, from sexuality to infidelity to the judgement we place on others before knowing all the facts, and more. The ending works so incredibly well, the last lines are perfection, and I can’t imagine this finishing in any other way.
My verdict is that Knock Knock is well crafted, it subverts expectations wildly despite other reviews and online comments telling you the movie follows a formulaic technique used by other horror-thrillers; it certainly does not. A few times I found myself genuinely surprised. Check this out for a good dose of steamy thriller and lots of psychological horror, terror, and straight up madness!
FX’s American Horror Story
Season 1, Episode 2: “Home Invasion”
Directed by Alfonso Gomez-Rejon (The Town That Dreaded Sundown, Me and Earl and the Dying Girl)
Written by Brad Falchuk & Ryan Murphy
* For a review of the previous episode, “Pilot” – click here
* For a review of the next episode, “Murder House” – click hereThe opening sequence to Season 1’s second episode is an absolute killer. Sorry for that brutal pun, but it truly is an excellent piece.
Again, we’re already seeing the series use famous horror movie scores and nodding to a few of the greats. For instance, in a flashback to 1968, a strange man enters the house (where the Harmons now live) under false pretences. Nurses live there, and a bunch are out for the night. He attacks one and takes them both hostage. As soon as he turns rancid, the Bernard Herrmann score from Alfred Hitchcock’s Psycho begins to play. Further as the sequence progresses, before coming back to the present, more of the music continues, as well as a NASTY kill on one of the nurses; she is stabbed in the back, some of the shots nearly mirroring the famous murder of Marion Crane – except this one takes place on a couch instead of a shower. The whole thing has a very Ted Bundy feel.
When we’re whisked back to present day, the memories of the 1968 murders linger.
Even while Tate (Evan Peters) and his trusty psychiatrist Ben Harmon (Dylan McDermott) conduct their latest session, it’s still hard to shake the savagery of the opening scene.Big shocker, as a woman – obviously the one Ben cheated on Vivien (Connie Britton) with – calls Ben and tells him that she’s pregnant. So quick into the season and we’re already really past the tipping point with Ben and his infidelity. Which is interesting, because while the house is obviously twisting their lives up and we want to feel bad for them, it’s tough to make Ben, in any way, out to be the victim.
A reference to Peter Medak’s The Changeling, after Ben finds Addie (Jamie Brewer) playing in the basement, laughing seemingly to herself. Once he clears her out of there, we watch the ball she’d been rolling around come rolling back out of the darkness by itself. I mean, the colour of the ball and everything resembles that scene, I can’t help but feel as if it was definitely a reference to the Medak haunted house classic.
Ben has a young lady coming to see him now as a patient, Bianca (Mageina Tovah), who is having dreams about trying to escape a stalled elevator and then being cut in half. She clearly has another fascination with being there other than psychiatry, there’s something about her totally affected by the house, as if she knows all about it, the history and such.
There’s so much perfectness between Addie (Jamie Brewer) and her doting yet also hateful mother Constance (Jessica Lange). While at times Constance is an outright bitch in the way she talks to Addie, there are so many instances of how much she does care for her daughter. I love that Falchuk and Murphy aren’t afraid to bring characters to life here who are complicated. Aside from all the infidelity stuff, we’ve got a wonderful actress like Brewer playing a character whose own mother is resentful of her disabilities. It’s tough stuff, however, I find it incredibly intriguing, especially in a horror-based show. Their relationship, obviously, will flesh out more and more with every episode, and it’s something I end up enjoying a great deal about Season 1.Ben is in trouble. Hayden McClaine (Kate Mara) his supposed one time mistake is back in his life, full-time now, with the prospect of a child. Unfortunately, Ben is not only keeping secrets, he now has the horror of the house and the insanity of Larry Harvey (Denis O’Hare) being pumped into him. It’s dark stuff where this will all be headed.
Another dynamic I enjoy is the one between Vivien and her daughter Violet (Taissa Farmiga). Britton and Farmiga are both great. Their acting here is on point and I found their relationship, the whole season, to be extremely believable. Violet is beyond spiteful, as she tells her mother “I think you’re weak,” and we can see that she’s as much hurt by her mother’s inability to walk away from her cheating father as she is by his unfaithfulness. Probably not fair, however, ultimately I think it’s mostly because Violet is sad. She only lashes out because, as we all once were, she is a teenager and believes her knowledge – supposed knowledge – is the right kind. Britton and Farmiga do well together in their scenes, really have a family feel going on, which doesn’t come off as forced.
Sneaky Ben has snuck off to see Hayden (Kate Mara). She’s supposed to be having an abortion, which they’ve both determined is best for them in the long run. While some might look at Hayden, believing her to be in the wrong or that she is clinging to Ben, I see the character as a girl who was duped into thinking there could be more eventually between them. Ben tries to avoid responsibility, much as he possibly can, but eventually things will catch up with him.Back at home, Vivien begins to experience something similar to – or exactly a copy of – what the nurses in 1968 went through on that fateful night at the hands of a strange and murderous man. Bianca (Tovah) was merely casing the house in her session with Ben, and along with Fiona (Azura Skye) and Dallas (Kyle Davis) they plan to recreate the murders. I mean – WILD! Love it, plus today in the sick society we’ve developed, I can totally see a twisted copycat style murder like this happening. If it hasn’t happened yet, it will. This trio is like a deplorable serial killer cult, worshipping the man who killed those nurses in the ’60s; they’ve even got one of the objects used in the crime, bought off E-Bay, in order to bring further authentic and ritualized sense to their present day murders.
I won’t spoil any more of what happens, but we see so many things come to play – one of the cupcakes Addie and Constance made earlier, the ghosts lurking in the basement, as well as the tenacity of both Vivien and her sassy daughter Violet. Amazing scenes here. Tense, suspenseful moments. What’s even worse is the fact Ben is off with Hayden, as his wife and daughter have to deal with the titular home invasion.
Wildly shocking scene between Addie and Constance later in the episode. I mean, I couldn’t get over how witchy Constance comes off at this point. Locking Addie in a closet so she can have peace and quiet with her hunky, young boyfriend, Constance puts her in there – only surrounding the poor girl are mirrors, tons of them, reflecting her appearance right back into her eyes. Obviously Addie doesn’t like looking at herself much, which Constance knows. This part broke my heart – Constance walking away, Addie screaming bloody murder in the closet. Terrifying and sad all at once.
Again, the horrors of the house, from top floor to basement, come out in fine fashion for “Home Invasion.” The murderer hopefuls who broke into the Harmon house in order to reenact those 1968 killings experience the worst of what creeps amongst the shadows. In an act of retribution, the murdered nurses – victims of the serial killer they were there to worship and to whom they wished to pay tribute – are the ones who come back, ghostly and grisly, to take fresh souls for the house to keep.
Furthermore, we also get to start seeing how Constance, Tate, and Moira are all linked to the house. Not in the sense we’re given a ton of expository dialogue, or any exposition beyond what we’ve already started to think ourselves. Merely an effort on their parts, together, to clean up the basement after the would-be killers are dispatched by the living dead nurses. I thought that was a nice, slight touch. Instead of spelling things out too easily for everyone, it’s a brief nod for us to understand – okay, this is going somewhere, these three are up to something. What? We’ll find out.Next episode is “Murder House” (what this first season has been retroactively dubbed after each season seems to be given a subtitled name), which is directed by Bradley Buecker whose work includes other work later with American Horror Story, as well as Nip/Tuck and more.
Cold in July. 2014. Dir. Jim Mickle. Written by Nick Damici, based on the novel by Joe R. Lansdale.
Starring Michael C. Hall, Sam Shepard, Don Johnson, Vinessa Shaw, Wyatt Russell, and Nick Damici. IFC Films.
Rated R. 109 minutes.
Fatherhood and morality are the central themes in Jim Mickle’s fantastic adaptation of the Joe R. Lansdale novel Cold in July. While the plot is centered around two fathers, both in different circumstances, morality is what eventually drives them: one worries about his own morality, the other is faced with the unquestionable lack of morals in his son. Though, the two fathers face different questions of morality, their path ends up as an identical course leading them into the dark heart of man and outside the confines of the law.
If someone broke into your home, threatening not only your own life but the lives of your family, and you shot them dead, would you be content walking away no questions asked? In the aftermath of a break-in where Richard Dane (Michael C. Hall) was put in just such a situation, he begins to suspect the local law lead by Ray Price (Nick Damici) are misleading him as to the identity of the man he killed. After a dangerous encounter with Russel (Sam Shepard), the dead man’s ex-con father, Richard ends up saving the man’s life from the same cops lying to them both. Determined to figure out the truth of who Richard killed and the real whereabouts of Russel’s son, both men set out on a dangerous path crossing between law enforcement and the Dixie Mafia.
The scene most perfectly done is where Jim Bob (Don Johnson) and Richard watch a videotape revealing the whereabouts of Russel’s son. It shows him involved in some very despicable, rotten behaviour. Real immoral activity. First of all, there is a real savage moment, which Mickle really does well. Despite there being an opportunity for a bit of really graphic violence, the director strays from actually showing the moment of impact; we feel it much more, I think. Instead of actually seeing the violent shot, it cuts away right before the brutality. Furthermore, while Jim Bob and Richard are watching the video, Russel is upstairs trying to muster the mental energy to actually call his son. Earlier, Jim Bob had told him to stop being such a “cranky old bastard” and just call his son, but Russel refused at the time. So while we’re expecting him to end up calling his son, and where a lesser film might just have an emotional sort of scene to further the fatherhood theme, Cold in July pulls those heartstrings a little – yet Russel does not call him. We see the moments with the videotape, simultaneously Russel is about to possibly call, and just as we imagine he will, he hangs up the phone.
I was anticipating him giving in, not realizing what was being seen on the video downstairs. However, he sees it afterwards, and I was really glad he hadn’t called, or worse actually gotten in contact with his son. I’m not sure why I’m glad, but for me it was a subversion of my expectations. Plus, there is just nice suspense in the tension built up through this scene, from the juxtaposition of the video being watched & Russel next to the phone, to the videotape itself and how unsettlingly it was paced. Great, great moment in this film.
I know a lot of people mention the film’s score, and rightfully so because there is a very retro 80’s feel about the music. It really is excellent. Not only does it serve as a throwback-style score, the ambient nature of some pieces really lend themselves to the overall atmosphere and mood of the film. There are certain movies that try to force the whole electronic score. In the end this never works. On the other hand, Cold in July already plays like something I can imagine coming out of the 1980’s. With the electronic score, this mood really comes across. Without straining too hard in the costume/set/et cetera departments, the electronic score really helps this feel like a period piece. While there’s no outright stating this film takes place in any specific decade, the novel itself was written in 1989, and I think the movie (I’ve never personally read this novel) really puts across a feel of being from that time. The score is one way to push this forward without really focusing on coming across as an actual period piece. This sort of alleviates any pressure to fully conform to the decade, but the music helps to easily plant the story in the 80’s. It doesn’t hurt Hall has an awesomely awful hairdo from that era.
Usually a film, if it’s a good one, will have at least one real good performance. I can’t really think of a movie I loved where there’s not one performance I enjoyed. That’s sort of a nonsense thing to even expect. That being said, Cold in July sports three really big and spectacular roles played amazingly by Michael C. Hall, Don Johnson, and Sam Shepard.
In particular, Hall does a fantastic job here. Especially considering his recent and arguably most recognized performance as Dexter (although I always remember him best as the meek David Fisher from HBO’s Six Feet Under). A lot of people would like to typecast Hall into leading roles where he’s this very controlled, dominant type who is full of confidence. In my mind, Hall can play anything, however, he does good work with very mild-mannered individuals, such as Richard Dane here. Also, where Dexter was a certain kind of rumination on morality, albeit from a much different angle, Cold in July shows us a more realistic version of morality in that Dane is a father, a framer by trade; a regular man. Hall plays his vulnerability clearly, openly. The turning point comes in the final 15-minutes of the film when Richard is in the midst of a gunfight. Now, we see the real transformation from where he began, as a man incapable of steadily firing a gun – when he kills the intruder, he looks at the gun surprised, and even more so once discovering he shot the guy right through his eye socket. In this finale, Richard is a confident man, having discovered his own morality through disposing of, what most of would see as, human waste. Hall played this so well – there’s a look he gives, almost as if right to the camera but not, as he walks away from a freshly killed man. Perfect.
It’s hard not to mention Shepard and Johnson, as well. Shepard was phenomenal. As usual, though. I really love him, both as an actor and writer. What a great talent. There is a fantastic moment in the finale where there’s this ironic and bittersweet moment (SPOILER AHEAD) – Russel shoots his own son to prevent him from killing Richard. The irony comes from how the film started with Russel stalking Richard because he believed him to have killed his son. The bittersweet kicks in when Russel tells Freddy that he is his father. Freddy asks if he really is, and Russel replies “Far as I know” before pulling the trigger right in front of his son’s two eyes. Really great acting.
Johnson was a supporting role, though with a decent bit of screentime compared with Hall and Shepard. Regardless, he is worth every penny. There’s something about the character of Jim Bob I really loved. I think it’s because he could have been a very stereotypical Dixie-type, and he was in certain subtle senses. But the fact Johnson plays him without a hillbilly yeehaw in his voice and step, the fact he doesn’t ham it up in this way, really does the character, and the film overall, a lot of justice. Johnson is just straight up cool as Jim Bob. I don’t think there’s anyone else I’d rather see playing this role. Not to mention he is a regular bad ass when the action-packed finale of the film comes barreling at you.
This is one of my favourite crime-thrillers in recent memory. It’s also a really great neo-noir. One of the better examples for a long while. The great performances by all three of the top billed stars really helps, however, Cold in July contains more than just that, including a very moody electronic score, a tight script, and the fact Joe Lansdale’s novel served as a basis for the screenplay helps an enormous amount. He is a great storyteller. Nick Damici, who adapted the novel into a screenplay, is a screenwriter to watch; I’ve enjoyed his previous work. He and Mickle do well together. There’s also some fun, gnarly violence in the finale of Cold in July to really tickle the hounds out there. Even a few interesting, subtle moments, such as those including revisiting the initial murder; shots of Richard and his family on the couch right where the dead man was killed and the blood sprayed on the wall, and quiet little bits like those (such as the very final shot) juxtaposed with the other highly violent scenes.
Check this out as soon as possible. I can’t wait to get my hands on a Blu ray release.
Adam Wingard and Simon Barrett deliver the home invasion horror goods with YOU'RE NEXT.