#LIGHTS OUT SHORT FILM REACTION MOVIE#

Israel-Hamas war: Calls to extend truce grow as more hostages releasedĪfter the truce between Israel and Hamas entered its final 24 hours on Monday, the Palestinian militant group, US, Qatar, Egypt and France are pressing for the four-day agreement to be extendedĬlaims UK heading for austerity 'simply unfounded', says Rishi Sunak With The Wailing and Under the Shadow preceding Lights Out, 2016 will be remembered as the year three classic horror films arrived in quick succession. It’s the simple things that the film gets right, and I can’t wait to see what director Sandberg does next he definitely deserves a film with a bigger budget. The film is often quite funny as well - and there’s one scene involving a car’s automatic lock that is so crowd pleasing you’ll cheer in awe. Even in the second Conjuring film it simply becomes a matter of twiddling your thumbs waiting for the night and the ghosts to arrive, but in Lights Out the threat is a chilling omnipresent danger, making you try your best to avoid looking into the dark corner of the camera frame in case something pops out. This makes Lights Out one of the very few films that makes jump scares actually frightening and enjoyable instead of tedious shallow shock value. Sandberg’s flair for lights and shadows is amazing to say the least.

The other winning factor is the sheer visual craft. This gives the ghost in question a challenge to actually try real hard to petrify the people in the film, and also the audience.

When the characters realise that there is indeed something supernatural happening around them, they decide to do something about it instead of sitting around waiting for the ghost to attack them. The biggest reason why Lights Out wins over other horror films dealing with similar subject matter is how the characters do rational things, instead of randomly taking stupid decisions and getting killed by the ghost.

#LIGHTS OUT SHORT FILM REACTION MOVIE#

Napoleon movie review: Joaquin Phoenix shines as magnificent French emperor in Ridley Scott's larger-than-life biopic The Hunger Games: The Ballad of Songbirds & Snakes review: This action-drama fails to create enough engaging moments Rebecca, who herself had seen the entity and dismissed it as a nightmare from her childhood takes Martin away from their mother and this pesky ghost. There’s a mentally unstable mother (Maria Bello), estranged from her daughter Rebecca (Teresa Palmer) and struggling to take care of the younger son Martin (Gabriel Bateman) who begins seeing a ghostly entity in the house. All the familiar elements of a horror movie make their presence felt soon after.

The man is found dead, hacked to bloody pieces. The opening scene itself sets up the threat - a shadowy figure with extremely sharp claws comes closer and closer to a man every time he moves from the brightness of tube lights to the shadows. Sandberg and his writer Eric Heisserer don’t waste any time in getting to the good stuff. It was a cool little jump scare technique utilised in the short and the feature film version does a nice job of extending that jump scare into something that can engage you for 80 minutes. The film is based on Sandberg’s own famous YouTube short film of the same name in which a ghost comes closer and closer to you when you flip the light switch on and off. It’s kind of surprising that Lights Out is Sandberg’s first film, given how mature the film seems, especially in the horror genre. David Sandberg’s Lights Out satisfies every single one of those requirements with the one exception - you will be clinging on to your date rather than the other way round. What do you need in a horror movie? Likable characters, an interesting story, a new kind of spectral antagonist and scares that could wet your pants and make your date cling on to you.

Lights out short film reaction