Entire family: No
2016, 81 min., Color
Rated PG-13 for terror throughout, violence including disturbing images, some thematic material, and brief drug content
Aspect ratio: 2.40:1
Featured audio: DTS-HDMA 5.1
Bonus features: D (deleted scenes only)
I can’t explain why teenage girls like horror-thriller movies so much, but I can tell you that the two who watched Lights Out with me were satisfyingly scared. This 2016 film won’t ever be considered top-fright entertainment, yet it manages to play the genre game fairly well.
At the heart of all horror-thriller films is this simple concept: It’s HERE! No it’s not. It’s HERE! No it’s not. It’s HE—AHHHHH! Usually there’s a build-up of tension before the release, but present-day horror-thriller dabblers don’t seem interested in that or anything else besides the simple formula for scaring people.
Lights Out is based on a short film by director David F. Sandberg, but the expansion to feature-length film doesn’t include any simmering set-up. We’re thrown right into a horror situation and then, like people corralled in a dark room, we’re subjected to the “It’s HERE” nope “It’s HERE” jumpfest—one that’s milked for all it’s worth with the addition of loud musical cues. One of the girls gave it an A-, while the other thought it a B-. Either way, both girls said they’d watch it again—and hopefully understand more about what was going on.
I doubt it. Without sliding too deeply into spoiler territory, let me just say that there isn’t a satisfactory explanation for the horror phenomenon that haunts this film, primarily because the apparition itself inexplicably changes. One minute it’s substantive, and the next minute it’s more wispy—kind of like the ending, which seems to make sense unless you think too much about it. That holds true for the beginning, too.
What does that leave you with? The formula, of course. In this variation, when the lights go out (and sometimes they go out as a result of the horror phenomenon) an apparition appears and seeks to harm people. It’s not just anybody that the apparition targets, either. It’s a particular family. Rebecca (Teresa Palmer) moved away from her mother (Maria Bello) and much younger brother, Martin (Gabriel Bateman), in order to stay sane. You see, the mother talks to an imaginary person and is chronically depressed. So why is young Martin still living with her? Good question, and another one that’s never answered. All that matters is that Martin freaks out when the lights turn off and he starts seeing this apparition . . . as his older sister once did. Who is it? What is it? What is it after? Those are the questions that are never fully answered, but which drive this horror-thriller all the same.
If all you require of a horror-thriller is that it scares you, then Lights Out does the trick. If you need it to make complete sense, well . . . it’s NOT HERE! But hey, that’s the world of the supernatural. As with magic, do you really want to know everything?
Sex: People in bed after implied coupling, but nothing shown
Language: A few “shit”s and that’s about all I remember
Violence: Clawing, choking, dragging people into darkness
Adult situations: A phenomenon tries to hurt or kill people, and one death with blood is shown, while others are off-screen; a character also commits suicide
Takeaway: When the formula works, it works