David O'ConnellThe Strangers
June 4th 2009 03:44
Regardless of how fancifully it transforms a true-life incident into voyeuristic, predatory torture, Bryan Bertino’s 2008 debut feature is superior manipulation, a film sure to induce a raised heart-rate and a lump in the throat of almost any viewer. One-dimensional it may be, but The Strangers is slick and utterly engrossing entertainment with a level of suspense that’s skillfully maintained for its fairly brief running time.
Kristen McKay (Liv Tyler) and James Hoyt (Scott Speedman) have returned home in the middle of the night from a friend’s wedding reception where their own relationship has received a potentially fatal blow; Kristen has evidently rejected a marriage proposal from James and the tension between them is palpable, both at pains to verbalise their obvious despair.
Tentatively they reach a point of seeking the solace of a physical release from their troubled, disastrous night when a pounding on the door shakes them; a young woman (Emma Ward) seems lost but her mysterious, shadowy introduction becomes the kickoff point for a night of terror as they’re soon besieged by the trio of stalkers in creepy masks. The methodical nature of this home invasion – taunting them as though wounded animals - and the remote location heighten the terror of confronting anonymous adversaries with pathological agendas. Their plight seems hopeless and it’s to Bertino’s credit that he’s able to create a series of gripping diversions and maximum chills from such a limited scenario.
Its influences may range all the way from Halloween to the recent Vacancy, but the most obvious recent comparison is Xavier Palud and David Moreau’s superb 2006 film Ils (Them) which differs only in denying the audience bloodletting of any sort. Bertino often makes fascinating use of the wide frame, filling spaces close to its edge with the scary visages of the intruders; their mechanical form of psychological terrorization soon sees them broaching the inner boundaries of the house, giving them an almost supernatural grip on their victims’ psyche. Mindless this trio of stalkers may seem, but it’s the very denial of any rational motivation - reducing their intentions to something oblique and systematic - that fuels the narrative as it unspools like a nightmare.
The director’s only major misstep may have been flushing out the darkness as the end nears, important scenes breaking the momentum by loosening the hold that the pitch-black reign has over both the victims and audience; one of the vital, intangible properties of fear becomes effectively separated from its source once the daylight penetrates a scene that’s horrific enough but should have had even greater impact. You could argue, of course, that by this time the film is running out of steam anyway and we’re starting to become desensitised to it.
Present and accounted for are the usual illogicality and acts of stupidity that mar so many horror films, but overall, The Strangers kept me unnerved and jumpy in expectation. The level of sustained intensity that Tyler’s performance required to make her predicament believable is quite high and she shows a decent range considering she’s walking in the shoes of many a generic, overwrought scream queen.
Despite its limited appeal - most women will want to stay away! - this is an excellent film of its type, brilliantly crafted for the most part by a first-time director whose next project is eagerly awaited.
Kristen McKay (Liv Tyler) and James Hoyt (Scott Speedman) have returned home in the middle of the night from a friend’s wedding reception where their own relationship has received a potentially fatal blow; Kristen has evidently rejected a marriage proposal from James and the tension between them is palpable, both at pains to verbalise their obvious despair.
Tentatively they reach a point of seeking the solace of a physical release from their troubled, disastrous night when a pounding on the door shakes them; a young woman (Emma Ward) seems lost but her mysterious, shadowy introduction becomes the kickoff point for a night of terror as they’re soon besieged by the trio of stalkers in creepy masks. The methodical nature of this home invasion – taunting them as though wounded animals - and the remote location heighten the terror of confronting anonymous adversaries with pathological agendas. Their plight seems hopeless and it’s to Bertino’s credit that he’s able to create a series of gripping diversions and maximum chills from such a limited scenario.
Its influences may range all the way from Halloween to the recent Vacancy, but the most obvious recent comparison is Xavier Palud and David Moreau’s superb 2006 film Ils (Them) which differs only in denying the audience bloodletting of any sort. Bertino often makes fascinating use of the wide frame, filling spaces close to its edge with the scary visages of the intruders; their mechanical form of psychological terrorization soon sees them broaching the inner boundaries of the house, giving them an almost supernatural grip on their victims’ psyche. Mindless this trio of stalkers may seem, but it’s the very denial of any rational motivation - reducing their intentions to something oblique and systematic - that fuels the narrative as it unspools like a nightmare.
The director’s only major misstep may have been flushing out the darkness as the end nears, important scenes breaking the momentum by loosening the hold that the pitch-black reign has over both the victims and audience; one of the vital, intangible properties of fear becomes effectively separated from its source once the daylight penetrates a scene that’s horrific enough but should have had even greater impact. You could argue, of course, that by this time the film is running out of steam anyway and we’re starting to become desensitised to it.
Present and accounted for are the usual illogicality and acts of stupidity that mar so many horror films, but overall, The Strangers kept me unnerved and jumpy in expectation. The level of sustained intensity that Tyler’s performance required to make her predicament believable is quite high and she shows a decent range considering she’s walking in the shoes of many a generic, overwrought scream queen.
Despite its limited appeal - most women will want to stay away! - this is an excellent film of its type, brilliantly crafted for the most part by a first-time director whose next project is eagerly awaited.
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Comment by Michelle Sweeney
Competition Queen
Comment by David O'Connell
Screen Fanatic
Comment by quatro
Secret Writers Business
Time to Read !
Thanks
Quatro
Comment by Matt Shea
20/20 Filmsight
Comment by Marc
If you want to see a really scary film I recommend Oren Peli's Paranormal Activity, if you can find it anywhere.
Comment by Bryn
Horrorphile
And I agree with Marc, if you want a really scary movie try Paranormal Activity, which I'm sure will be in the Melbourne Festival.
Comment by David O'Connell
Screen Fanatic
I read your review and mostly agree with you Bryn, I have to say. It's just such a subjective thing though and despite its shortcomings, I found that on a primal level, this one got to me. And yes, I do agree Ils is better though, a great suspense film actually.
Will definitely try to make it to Paranormal Activity if it's screened at the Festival down here.
Comment by Bryn
Horrorphile
Of course I totally agree about it being a subjective experience. Dependent on the time you see it, your own mood, etc. Two close friends of mine saw The Strangers at the cinema and thought it was excellent, but then they don't watch horror and generally don't go to the movies. Go figure.