It Follows (2015)
David Robert Mitchell invites you to the best American horror film in more than a decade.
It Follows is a coming of age tale that mines a primal terror. Moments after a sexual encounter with a new boyfriend, Jay discovers that she is cursed. He has passed on some kind of entity – a demonic menace that will follow her until it either kills her or she passes it on to someone else the same way she got it.
Yes, it’s the STD or horror movies, but don’t let that dissuade you. Mitchell understands the anxiety of adolescence and he has not simply crafted yet another cautionary tale about premarital sex.
Mitchell has captured that fleeting yet dragging moment between childhood and adulthood and given the lurking dread of that time of life a powerful image. There is something that lies just beyond the innocence of youth. You feel it in every frame and begin to look out for it, walking toward you at a consistent pace, long before the characters have begun to check the periphery themselves.
And though the entire effort boasts the naturalism of an indie drama, this is a horror film and Mitchell’s influences are on display. From the autumnal suburban loveliness of the opening sequence to the constantly slinking camera, the film bears an unabashed resemblance to John Carpenter’s Halloween.
Mitchell borrows from a number of coming of age horror shows, but his film is confident enough to pull it off without feeling derivative in any way. The writer/director takes familiar tropes and uses them with skill to lull you with familiarity, and then terrify you with it.
Maika Monroe – hot off an excellent turn in The Guest – anchors a cast of believable teens, absent mindedly bored with their adolescence. The performances across the board are fresh and realistic. The gang of buddies movies languidly toward adulthood in a time outside time – their lives speckled with TV antennas and wall phones but also e-readers. This inconcrete time period allows the film a nostalgic quality that any audience can tap into.
The shape shifting entity itself appears in a variety of forms, each a more lurid image direct from some nightmare.
Mitchell’s provocatively murky subtext is rich with symbolism but never overwhelmed by it. His capacity to draw an audience into this environment, this horror, is impeccable, and the result is a lingering sense of unease that will have you checking the perimeter for a while to come.
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