Intruders tells the parallel tale of two families whose lives are thrown off track by menacing apparitions: in Spain, a mother protects her son from a faceless stranger; in the UK, a young girl has terrifying dreams of Hollowface, a demon who becomes a real danger.
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Very uneven horror film is well-shot with a capable cast, and manages a handful of effective sequences. But the clunky plot fails to generate any kind of momentum, leaving the whole thing just sort of dull and forgettable.
The first 5 minutes are genuinely absorbing, despite some CGI that looks lifted right out of 1996's "The Frighteners," with a dark and dream-like mood similar to survival-horror video games like "Silent Hill." Then Clive Owen enters the picture and it all goes downhill. Clive tries his best but the screenplay forces a hodgepodge of inane ideas that feel cribbed from the M. Night Shyamalan playbook.
A murky, loosely-defined story about a hallucinatory evil that spans generations. Clive Owen is great fun, as usual, and there are some interesting sequences - but overall, "Intruders" is a pretty boring bout of the same-old.
Fresnadillo is a filmmaker who is truly borderless. His films are perfect representations of the planet as melting pot of language, colors, origins, and though they have specific settings, they could be anywhere and are fascinating in that he refuses to treat one culture as inherently different from another. The film isn't a masterpiece, but his movies will always be more interesting than most genre films.
Starts out intriguingly enough but by the third act, this film is just limping toward the finish line before simply passing out in the climax. Like too many horror movies, it tries to explain everything but only succeeds in causing further confusion. Its worst sin: A bland, uninteresting "monster". At least Clive Owen is giving his all but, alas, he cannot save this sinking ship of a movie.
Less a horror film about the bogeyman than a scary, psychological character study about what creates it. Intruders is so lyrical in both its stunning use of montage and the carefully rendered metaphor of fear and loss that it's like a tone poem, akin to the work of Guillermo del Toro. As an evaluation of what lies and truths one chooses to tell their kids, it's as insightful as it's haunting. A very underrated film.
Reminded me in some ways of The Tall Man, a too-clever for its own good experiment by someone who was clearly a fan of the genre, with a few individual scenes that were particularly effective, but a whole that doesn't quite coalesce on the screen in the way it must have in its writer-director's head.