For 19-year-old Jay, fall should be about school, boys and weekends out at the lake. But after a seemingly innocent sexual encounter, she finds herself plagued by strange visions that someone, or something, is after her.
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Maybe 5 stars is to exaggerate but it's been a while since I've seen a good horror film that it's also a good film in general. Original premise and beautiful cinematography and soundtrack. Loved the quotes by T.S Eliot and Dostoyevski, they hint what the film is about.
A chilly, atmospheric indie horror whose final act doesn't quite live up to its initial promise, but twists an age-old story (and many classic horror tropes) into a satisfyingly original experience. The cheap, wonky electronic score is a masterstroke.
I could not remember any remarkable cinematography and it has got one of the most ridiculous horror background. "Making love with a guy to escape from devil"? And a blondie who desperately makes love with guys to be survived? Which year is that? Is it 1983 or something? C'mon, please don't lie to yourself with symbol stuff. It is just one of these movies which steal your precious 93 minutes with a very boring way.
'Halloween' meets 'A Nightmare on Elm Street' in this adult horror movie featuring teenagers. For once, I had the feeling to see characters in flesh and bone on the screen thanks to a first-class screenplay from director David Robert Mitchell. A very good surprise. Highly recommended.
Really baffled by the praise. The jump scares fail from predictability. The attempt at intellectualizing "It" flounders from lack of acuity. And the protagonist is vapid to the point one wishes Darwinism would prevail and speed her demise. "Liquid Sky" tackled death by sex with far greater verve. Had Jay been an amoral whore leaving scores of dead boys in her wake to save herself, It would have been more interesting.
A remarkably cohesive synthesis of Halloween, Repulsion, and a bit of J-horror thrown in—scary, and loaded with meaning. Some say it's a metaphor for STDs, but I think it has a more shaded (and not puritanical) view of sex, and the film's horror is less about sex's physical consequences than its emotional ones. A movie about anxiety and intimacy, and a serious indie triumph.
Its glossy, heavy sense of dread is more like "Blue Ruin" than any modern American slasher movie, the malaise founded on an embattled middle class America, where the encroachment of economic decline and repressed angst replace affluent teens. This all works well, and as a metaphor for sexual jealousy too; but less so for scare-factor, over-reliant on the score to ratchet up the tension, but also the pretentiousness.