On viewing, it’s obvious that Bailey’s physicality and “bendability” added much to the presentation of Diana. Kudos to the team in electing to go with as many practical stunts and horror effects as possible, and in their casting Alicia Bailey as Diana. While the boys are the cornerstones of love and connection, in Bret, DiPersia also gives the audience the real POV of an outsider with doubts and fears, ultimately seeing the truth of Diana. Joining Bateman is Alexander DiPersia as Bret. Nicely done by Bateman and stunt coordinator Mark Norby. And talk about standout stunt work! Bateman is dynamite doing some of his own hairy stunts, like getting pulled under the bed. Pragmatic, yet fearful, he makes the family dynamic real while grounding the audience with the idea that it’s okay to be afraid but then be able to face and conquer the fear. But I have to say, it’s the boys who are the touchstones for the audience. Teresa Palmer is solid as Rebecca (but her eyeliner and false eyelashes need to go) and has a warm chemistry with Gabriel Bateman. As Sophie, Bello is hypnotic in her performance and Spicer’s camera captures every tic, every bead of sweat, every wringing of the hands, every cower. Tortured from within, Sophie’s mania is palpable. Maria Bello delivers one of the best performances of her lauded career with her interpretation of Sophie. And you’ve got two of the best horror editors on hand here with Kirk Morri and Michel Aller and their skills show in spades. To do so at such an early stage goes against the grain for most horror films, but with horror icon James Wan as a producer, it’s not surprising to see the boldness of storytelling here. But, it also introduces us to the malevolence at play. Sandberg immediately sets the stage and the tone of the film with Billy Burke as Paul in hiss company warehouse. Cinematographer Marc Spicer nails the lensing with effective and intriguing framing and lens focal length, using light and shadow to paint a lush tapestry that is revelatory with lensing of faces and nuanced movements. Scribe Heisserer and director Sandberg have constructed a solid meld of story and visuals with visual reveals interwoven within the script (i.e., the black light). Lighting design and use of light, i.e., black light/candle/flashlight/GE bulbs/ all being used concurrently but judiciously, is some of the best lighting design ever in a horror film. Is she real? Is she alive? Is she a figment of imagination? And just why are the lights always out? Caring about her, Bret gets involved in the family drama as the two take Martin to Rebecca’s apartment where fear starts to take hold of Rebecca as Martin tells tales of Diana.įorcing a showdown between Rebecca and Sophie over Martin, truths start to reveal themselves with everything revolving around Diana. Rebecca has her own issues going on with boyfriend Bret a man who clearly loves her and wants to make a commitment, something Rebecca shies away from allegedly due to her father’s leaving when she was young. Thanks to his mother’s behavior, Martin is also not sleeping at night but rather, during the day in class, prompting a call to Rebecca when Sophie can’t be found. On questioning his mother about who she’s talking to, her answer is always the same, “my friend, Diana.” But it’s not just talking that’s apparently happening. Ironically, Sophie is not sleeping and Martin hears her talking all night long in her bedroom. She and Sophie are just this side of complete estrangement thanks to Sophie’s ongoing mental illness and her refusal to take meds.īlaming the leaving of her first husband and then the death of her second husband Paul for her illness, as Rebecca starts to discover – and as it appears Paul was investigating at the time of his death – Sophie’s illness goes back to her childhood and her time in a mental institution where she made a friend named Diana.
Rebecca long ago left home and has been on her own since 16 or 17, with her only family tie being Gabriel. Sophie, now widowed, is mother by her first husband to 20-something Rebecca, and Martin. It transcends the genre thanks to ingenuity, technical polish and hair-raising terror. Sandberg from script by Sandberg and Eric Heisserer based on a short film by Sandberg. Destined to become the horror hit of the summer, LIGHTS OUT is directed by David F. Who doesn’t love a little bit of terror on a hot summer night? And who doesn’t get that tingle of excitement mixed with terror in the dark and hearing/seeing things that go bump in the night? If you answered “yes”, then LIGHTS OUT is the film for you.
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