Writer/director David Robert Mitchell’s acclaimed indie horror finally arrives, and its gut-knotting sense of dread proves well worth the wait.
Early morning in a normal suburban street, the camera pans around and observes a young woman fleeing her house, it pans as she warily crosses the road and then dashes back into the house for her car keys, before driving away. At the beach she calls her father to apologise, before reacting in despairing horror to something we don’t see. We do see her mangled corpse. As cold opens go it’s very startling, and introduces a sense of unease that never quite leaves us during innocuous scenes of our heroine Jay (Maika Monroe) swimming in her backyard pool, hanging out with sister Kelly (Lili Sepe), and friends Paul (Keir Gilchrist) and Yara (Olivia Luccardi). It also underscores the bizarre reaction of boyfriend Hugh (Jake Weary) to a childish game during a date. And then Hugh passes something on to Jay…
‘It’. ‘It’ follows you. You must never let ‘It’ touch you. And you can only get rid of ‘It’ by passing it on to someone else… David Robert Mitchell’s first movieThe Myth of the American Sleepover was acclaimed for its originality. It Follows displays admirable directorial precision on his part, but influences are everywhere in his script. ‘It’ has a touch of the Terminator, as well as a Romero zombie, and even seems like a nod to Cronenberg’s horror of sexual infection Shivers. Rich Vreeland’s fantastically menacing synth score tips its hat to John Carpenter, as does a key element of ‘It’. But Mitchell isn’t overwhelmed by all these touchstones. He plays around with archetypal nice guy Hugh and bad boy Greg (Daniel Zovatto), as they aid and hinder Maika’s attempts to escape from being relentlessly pursued by ‘It’.
It’s hard to give a flavour of It Follows without ruining part of its appeal, the slow drip-feed of information about ‘It’. The uncertainty over the nature of ‘It’ allows a number of bravura sequences of agonising suspense, the highlight being the camera panning 360 over and over as ‘It’ steadily approaches an oblivious Jay. Cinematographer Mike Gioulakis creates such a dreamy atmosphere in early scenes with Jay that Mitchell is able to sustain for a very long time a knife-edge balance between suggesting that Jay is merely hallucinating in response to a trauma, and the white-knuckle ride that this horror is very real. White knuckle are needed to prevent niggling questions like if an implied foursome and threesome don’t pass it on far enough, why not just drive to O’Hare and sleep with someone about to fly to Europe?
It Follows features another strong performance by Maika Monroe, makes great use of decaying Detroit locations, and is powered by spine-tingling dread and terror, but loses its way slightly towards its grand showdown finale.