Writer(s): Zack Kahn and Peckover, from a story by Kahn.
Starring: Olivia DeJonge, Levi Miller, Ed Oxenbould, and Aleks Mikic
Along these same lines, there are films that are also intentionally mis-marketed and made into something that they aren't, often with disastrous results. For example, studio execs may decide to put an emphasis on action in a film that focuses more on dialogue and pacing, to make it seem more action-packed than it really is, and to appeal more to people who enjoy that kind of film. It's a deceiving tactic, but Hollywood isn't a world known for its honesty. Besides, once they get you to commit, and take your money, there's little you can do (besides ask for a refund, which is oddly something that very few people seem to ever do; thinking about it, I've never thought of doing it, and I've hated plenty of theatrical films that I've seen).
But rarely has the art of the trailer been so brilliantly subverted as it is in Chris Peckover's Better Watch Out, a film that intentionally prepares you for something that it's not. It's all just one layer of unpredictability in a film that gleefully subverts genre expectations to deliver a film that still delivers the promised dark comedy, albeit in a very unexpected manner. (Also, ignore the multiple reviews that claim the finale abandons humor in favor of seriousness; it doesn't, though the already dark comedy does find a darker shade of black.)
Olivia DeJonge plays Ashley, a teenaged babysitter who has been tasked with watching over 12-year-old Luke (excellently played by Levi Miller) while his parents go to a party. Judging from the interactions between the two, she has done this many times before, but this night is different; she will be moving out of the state in just a couple short weeks, and wanted to say goodbye to the family by babysitting Luke one final time.
But what should be an easy paycheck starts to go off the rails from the outset: her boyfriend Ricky keeps calling her, much to the chagrin of Luke, who plans on letting her know how he really feels by putting the moves on her. This becomes both of their smallest concerns when figures start appearing in the windows, and noises are heard outside. Soon after, an upstairs window breaks; a quick investigation reveals that the culprit is a brick featuring a pretty straightforward, but rather frightening warning--”U Leave, U Die”. Luke's friend Garrett tests this theory by losing his cool and running panicked out the backdoor—and that's when everyone learns that whoever is behind this means business. Are these the actions of a spurned ex-boyfriend? A jealous current boyfriend? Or something else entirely?
And that's also where I will drop you off on this plot guide, because to go any further would require me to reveal certain plot points that are an integral part of the viewing experience. In fact, do yourself a favor and go into a viewing of this knowing as little as possible, and that will severely heighten the chances that you appreciate the twists and turns; the countless zigs and the zags.
The strengths of Better Watch Out are numerous, ranging from the quality of the script, to the brilliant performances throughout. In the past it has always felt like horror films in general—from the big budget studio fare, all the way down to the indiest of indies—have always been treated as an afterthought, with B-grade (or worse) talent being shoved in front of and behind the cameras. Now, with the success of movies like the It remake, and Get Out bringing large quantities of cash and success to studios (who only care about the cash part), it seems that the genre is finally starting to be taken seriously as a whole, rather than just the catalyst of pointless fads (the non-stop onslaught of post-Scream slasher films; the non-stop onslaught of post-Blair Witch found footage films).
It also marks the first time in a long while that I wasn't turned off by a characters' actions. All of them act within their characterizations, with no one breaking character to do something incredibly dumb. Granted, much of this is cleverly avoided by keeping characters within confined areas (thus severely limiting the number of available actions to them in the first place), but that's also a testament to the tightness of the idea and ensuing execution. (The one moment that could be considered a convenient bit of horror ignorance actually turns out to be a perfectly calculated moment when the plot starts falling into place.)
Imagine my surprise when a quick search revealed that this was not the creation of an up-and-coming horror auteur, but rather a work of a man whose previous sole feature-length directing credit was 2010's indifferently-received found-footage thriller Undocumented, which seems like such a run-of-the-mill horror film that I never even bothered to watch it, despite being tempted numerous times in the past by the admittedly intriguing poster. I still won't, for fear that it will lead me to lose respect for the man, but it's also a sobering reminder that (sometimes) talent cannot be judged just from one or two works. (To wit, who would have ever expected that Peter Jackson, he of Dead/Alive and Meet the Feebles infamy, would go on to helm one of the most epic and widely-acclaimed trilogies in the history of film?)
The ending did wrap things up a little too nicely for my liking, but I suppose it will be a welcome diversion for most audiences, who I'm told do not appreciate endless bleakness and nihilism, especially in their Christmas stories (and for what it's worth, there is a coda after the credits that actually addresses the “kindness” of the ending). That's really the only drawback in a film that's otherwise strong in just about ever other category. It will be interesting to see how time treats this: it will no doubt be on the short list of Christmas-themed horror classics, that much is known, but I wouldn't be surprised to find it on the list of top horror films of the year, decade, or maybe even quarter-century.
RATING: 9/10
But rarely has the art of the trailer been so brilliantly subverted as it is in Chris Peckover's Better Watch Out, a film that intentionally prepares you for something that it's not. It's all just one layer of unpredictability in a film that gleefully subverts genre expectations to deliver a film that still delivers the promised dark comedy, albeit in a very unexpected manner. (Also, ignore the multiple reviews that claim the finale abandons humor in favor of seriousness; it doesn't, though the already dark comedy does find a darker shade of black.)
Olivia DeJonge plays Ashley, a teenaged babysitter who has been tasked with watching over 12-year-old Luke (excellently played by Levi Miller) while his parents go to a party. Judging from the interactions between the two, she has done this many times before, but this night is different; she will be moving out of the state in just a couple short weeks, and wanted to say goodbye to the family by babysitting Luke one final time.
But what should be an easy paycheck starts to go off the rails from the outset: her boyfriend Ricky keeps calling her, much to the chagrin of Luke, who plans on letting her know how he really feels by putting the moves on her. This becomes both of their smallest concerns when figures start appearing in the windows, and noises are heard outside. Soon after, an upstairs window breaks; a quick investigation reveals that the culprit is a brick featuring a pretty straightforward, but rather frightening warning--”U Leave, U Die”. Luke's friend Garrett tests this theory by losing his cool and running panicked out the backdoor—and that's when everyone learns that whoever is behind this means business. Are these the actions of a spurned ex-boyfriend? A jealous current boyfriend? Or something else entirely?
And that's also where I will drop you off on this plot guide, because to go any further would require me to reveal certain plot points that are an integral part of the viewing experience. In fact, do yourself a favor and go into a viewing of this knowing as little as possible, and that will severely heighten the chances that you appreciate the twists and turns; the countless zigs and the zags.
The strengths of Better Watch Out are numerous, ranging from the quality of the script, to the brilliant performances throughout. In the past it has always felt like horror films in general—from the big budget studio fare, all the way down to the indiest of indies—have always been treated as an afterthought, with B-grade (or worse) talent being shoved in front of and behind the cameras. Now, with the success of movies like the It remake, and Get Out bringing large quantities of cash and success to studios (who only care about the cash part), it seems that the genre is finally starting to be taken seriously as a whole, rather than just the catalyst of pointless fads (the non-stop onslaught of post-Scream slasher films; the non-stop onslaught of post-Blair Witch found footage films).
It also marks the first time in a long while that I wasn't turned off by a characters' actions. All of them act within their characterizations, with no one breaking character to do something incredibly dumb. Granted, much of this is cleverly avoided by keeping characters within confined areas (thus severely limiting the number of available actions to them in the first place), but that's also a testament to the tightness of the idea and ensuing execution. (The one moment that could be considered a convenient bit of horror ignorance actually turns out to be a perfectly calculated moment when the plot starts falling into place.)
Imagine my surprise when a quick search revealed that this was not the creation of an up-and-coming horror auteur, but rather a work of a man whose previous sole feature-length directing credit was 2010's indifferently-received found-footage thriller Undocumented, which seems like such a run-of-the-mill horror film that I never even bothered to watch it, despite being tempted numerous times in the past by the admittedly intriguing poster. I still won't, for fear that it will lead me to lose respect for the man, but it's also a sobering reminder that (sometimes) talent cannot be judged just from one or two works. (To wit, who would have ever expected that Peter Jackson, he of Dead/Alive and Meet the Feebles infamy, would go on to helm one of the most epic and widely-acclaimed trilogies in the history of film?)
The ending did wrap things up a little too nicely for my liking, but I suppose it will be a welcome diversion for most audiences, who I'm told do not appreciate endless bleakness and nihilism, especially in their Christmas stories (and for what it's worth, there is a coda after the credits that actually addresses the “kindness” of the ending). That's really the only drawback in a film that's otherwise strong in just about ever other category. It will be interesting to see how time treats this: it will no doubt be on the short list of Christmas-themed horror classics, that much is known, but I wouldn't be surprised to find it on the list of top horror films of the year, decade, or maybe even quarter-century.
RATING: 9/10
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