It Follows

The plot I found amusing at first, as I had no idea what to think of a curse passed by intercourse. After giving it a try, It was a good concept. However, there were quite a few parts that I didn't care for, which I find common in horror/suspense movies. Characters make decisions that are just unlikely, in my opinion. Unfortunately, it seems this genre often requires people to make silly choices, or some nonsensical things to happen, to build suspense? or just because? Nonetheless, I call it poor execution.

I did love the cinematography, the fact that it does have an 80s horror feel (especially the music/soundtrack)and the acting was pretty good.

I like the fact that this movie is thought provoking, and doesn't spell everything out. So, you have to pay attention to catch or understand some of the story line. Yet, there are some things that are just unexplained, and maybe I just need to watch it again....but it wasn't that good that I would probably do that anytime soon.

I have seen a lot of reviews that speak very highly of this movie, but I kinda feel its overrated. Much like the Babadook. It is deserving of a descent score but definitely does not come close to a nearly 7/10 stars. Perhaps, its somewhat obscure plot, and/or story line? Nonetheless, its definitely worth a watch whether it leaves you frustrated, or intrigued, I think that's kinda the charm of this flick.

That is the only way to review this film.

The goal of every journeyman film-maker from the beginning of the medium to the present, is to produce something that has the most impact per dollar spent.

Think of the first Night of the Living Dead. Shot on location with unknowns and local residents as extras. And the local butcher donated the entrails.

Think Ginger Snaps, which started as an obscure Canadian horror flick but found an audience because of the great writing and the charisma of its stars.

What we have here is another attempt to strike film gold by going for a high I/B ratio.

A small cast. Minimal special effects. No special sets or backgrounds.

A really clever idea, sort of a take off on the Ring which itself was a riff off a Japanese horror classic.

So what's the bottom line? Well done for what you get. Writer/Director Mitchell has a heck of a career ahead of him. Several "jump out of your seat" moments. And also a plot riff which you just know was contributed by some of the frat boys who crowd-sourced the film -- "you can get rid of the curse if you just sleep with someone, fast!"

The bad news? It is not in the same class as Living Dead or Ginger. There are lulls. There are gaps. There are times you start to wish you have purchased the extra large popcorn and coke.

Great career launch.

Does anyone else wish this had been a short film? The mood and atmosphere are so thick for the first half hour or 45 minutes and then it just trucks along for the rest of the movie without a lot of energy. Fantastic cinematography and music, but the characters are pretty limp and it's hard to care what happens to them. Once they go into the investigation part of the film, everything falls apart and it becomes a chore.

Finally a real horror in a long time! No more bloody, slasher crap. This is how the really scary movies were made. Suspense and fear are created by great cinematography and music.

The pace of the movie is slow and almost no to few special effects are present. I surely hope that this movie hails the return of the great horror genre: we are scared of the unknown and not violence for the sake of it.

All the young actors are promising, they really pulled it off. Kudos to the director who also wrote the script, I am looking forward to his next movie.

Go see it, you won't regret it!

Greetings again from the darkness. Known for an endless stream of copycats and re-treads, the horror genre periodically surprises us with a dose of originality. Heck, we don't even ask horror filmmakers for anything too revolutionary … just give us something we haven't seen a few dozen times before. Writer/director David Robert Mitchell "gets it" and delivers a game of psycho-sexual-tag-you're-it featuring the most sinister STD ever.

A definite departure from the all-too-common teen slasher films, the slow-drip terror of this one has more in common with dread and eventuality than scream-inducing terror and "made you jump" scares. When we first meet Jay (Maika Monroe), she is a typical pushing-twenty student who enjoys leisurely swims in her suburban backyard pool, hanging out with friends, and a healthy dating scene. Well, healthy until one evening of back seat passion with Hugh (Jake Weary) sets off the above-mentioned sinistry. See Jake has purposefully "passed on" some kind of affliction that attracts a death-seeking entity who slowly, but purposefully pursues its target. Supposedly the only options are to be killed or pass it on through more passion … the worst kind of "pay it forward".

Jay is supported in her ongoing attempts to avoid the entity by her sister Kelly (Lili Sepe), her neighbor and classmate Greg (Daniel Zovatto), and Paul (Keir Gilchrist) her not-so-secret admirer who would do anything to protect her. The big catch is that only Jay can see the entity … making heroism quite elusive for her support group.

Lest there be any doubt of the dire situation, director Mitchell begins the movie with a very vivid example of the likely result in being "caught" by the entity, and adds the score from composer Disasterpeace … an ominous throwback techno-sound that would be distracting if not so fitting. This has all the makings of a breakout role for Maika Monroe, with similarities to Jamie Lee Curtis in the original Halloween movie (1978).

The low budget caused some obvious production limitations – in particular an awkward bounce from day to night and back again, and some iffy effects. However, the suburban Detroit setting provides a nice backdrop, and of special note are the Redford Theatre (est 1928) replete with its beautiful pipe organ, and the indoor swimming pool put to spectacular use in the film's climax. As long as the audience is not expecting the typical teen slasher, this creative horror film should gain an audience while putting director David Robert Mitchell on the fast track to bigger budget films.