Every so often, the horror genre gets a film that truly changes everything. I mean this can be said for all genres of film, but it seems that the examples provided by horror are always so much more evident. There were the classics such as “Nosferatu” or “The Cabinet of Dr. Caligary”, which were innovative for the film as a whole, while there are more modern examples such as “The Blair Witch Project”, which brought the now overused format of found footage films into new interpretations.
Placing the new film “Lights Out,” the debut project of David F. Sandberg, among such company may seem haste or even incorrect by some, however, it is undeniable that the film is a step in the right direction for the genre. Being based on the viral short made by Sandberg, the movie remains as densely packed with substance and environment as the two-minute 42-second original. It is this package that is a true innovation in the horror genre that has for the past decade been spawning empty and unfulfilling sequels and offshoots.
The films main haunt, Diana, is a mere silhouette, which, though not as secretive as the Blair Witch, leaves us guessing as to the true motives of her terror until the very end. She is the ideal monster for this new minimalistic culture, yet she is hitting in the same class as many of the greats. It plays on this ancient fear of the dark while building in commentary on mental health and the monsters that feed off them. I was left thinking of this shadow and what she meant the days following the film, and apparently, I’m still thinking about it now. It makes sure to not to demonize mental illness, but rather it gives form to the doubts and fears that feed off of these illnesses to keep individuals sick. It is a message reminiscent of the recent film “The Babadook,” however instead of it being the kids’ imaginary friend it is now the mothers’, newly widowed Sophie played by Maria Bello.
The monster comes to represent many things throughout the film and gives form to many day-to-day struggles such as familial problems and children who have been damaged from their upbringing.
I can honestly say that “Lights Out” completely scared me. Though it’s format depends on a level of “jump factor” it isn’t the surprise that scares you it is the disappearance once the lights come on, it is the psychologically disturbed idea of a mom welcoming this monster into her and her kids’ lives. It was an idea stolen from the nightmare of a child wondering “what if the monster is still there once the lights come on,” but that is more than enough of a foundation to build an intriguing yet simple narrative, which sees the development of the characters and authentic dynamics throughout.
You only see the face of Diana twice in the entire film, which is my only criticism. The main reason she is frightening is because she is this menacing shadow only being shown in the dark where her features are well hidden. It is this unknowing which is the driving force of the fear presented in the film and it was a tad cheap to resolve those tensions.
In the end “Lights Out” was innovative yet simple and enjoyable, particularly when horror films tend to be the convoluted and overly complex. It harks back to the originals while moving on in its own right and is a welcome addition to the genre.
