![]() Just last year we had Pixels, a soul-crushing example of what not to do. That may sound like a matter of course, this is something that can go wrong. Whenever you have a short like this, the hope is that it doesn’t get commercialized at all and the end result is essentially a 90-plus minute version of the short. You’ve seen this kind of thing a million times before, but it’s so perfectly executed that it doesn’t matter here. When you get fresh pants and watch it again, you notice a couple of things - despite the critical adulation, it’s actually a very traditional, by-the-numbers, sound-based jump scare sequence. This movie is, of course, based on the brilliant 2013 short film of the same name. Though content to simply run away from the situation when it was happening to her, Rebecca is determined to confront her mother and Diana and save Martin from a similar destiny. Paul’s death exacerbates Sophie’s condition, and Diana once again begins stalking Rebecca and her young half-brother, Martin (Gabriel Bateman). Lights Out is a stellar horror film that walks the line between terrifying and fun, but before that, it’s a happy ending for a genius short.Īfter a pulse-pounding introduction in which a shadowy woman kills Paul (Billy Burke), Lights Out follows his step daughter, Rebecca (Teresa Palmer). Several years before, Rebecca’s mother and Paul’s widow, Sophie (Maria Bello) was left by her first husband and fell into a deep depression, in which she began communing with said shadow woman, the ghost of her old friend Diana (Alicia Vela-Bailey). Diana haunted Rebecca as a child, driving her to cut ties with her mother. That’s the entire mechanic of this scene - it’s on a timer. Rebecca sleeps next to a flashing tattoo sign that periodically floods her room with soft red light. ![]() This scene is an example of how Lights Out plays with its monster.
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