It Comes at Night


Horror  Mystery  


Downloaded 372,690 times
Uploaded By: OTTO
September 1, 2017 at 10:15 am


Joel Edgerton as n Paulnn
Riley Keough as n Kimnn
Christopher Abbott as n Willnn
Carmen Ejogo as n Sarahnn
720p 1080p
669.43 MB
n 1280*720 n
n English n
n R n
n 23.976 fps n
n 1hr 31 min n
P/S 39 / 506
1.39 GB
n 1920*1080 n
n English n
n R n
n 23.976 fps n
n 1hr 31 min n
P/S 31 / 410

Movie Reviews

Reviewed by JohnnyBreeco 9 / 10

Not a horror at all... but a VERY REALISTIC and EXTREMELY WELL CRAFTED post apocalyptic film

*** This review may contain spoilers ***

Reviewed by Matt Greene 9 / 10

"The Only Thing We Have to Fear is Fear Itself"

The first thing worth mentioning about this film is that it is not a horror film at all. The film was completely mismarketed as another run of the mill horror film on purpose. This did two things. It secured the film a nation wide theater release which it surely wouldn't have gotten otherwise, and it baited in a larger, more casual audience that was expecting the exact opposite of what it was.Basically, going to see this movie is like ordering a greasy double decker burger with fries and a soft drink... but instead you get an exquisite entree of fresh garden vegetables prepared by a three star Michelin chef. Very few of these people will have the palate or taste for it, in fact most of them will be upset.This film is probably the most realistic post apocalyptic story I have ever come across. Anyone who knows the frequency and probabilities of solar flairs and what they would do to our civilization has probably played out scenarios in their head that are almost identical to the plot of this movie.It is this highest degree of realism in the unfolding of the plot and what happens between the characters that makes this film so engaging and captivating. As a work of craft, the film is a remarkable. It is so beautifully shot and the acting never drops below A+ quality for a single moment. This is in the top class of all the movies I have seen, and is one of the best post apocalyptic ever made in my personal opinion.

Reviewed by Ethan Guglielmo 9 / 10

Don't believe the hate. Actually a great movie.

How do you review a film too challenging to blanketly recommend, but is among the best this year? That's exactly my predicament with It Comes a Night, a movie marketed as a bump-in-the-night scarefest, but in reality is a deathly serious, brutally difficult critique of fear and isolation. Unlike your basic monster / slasher flick, this will disturb you on a deeper level, something not everyone will want. It's a taut, tight paranoia drama full of stunning visuals and killer performances, in which the monster is the state of dread itself. A small family is holed-up in a cabin deep in the woods, trying to isolate themselves from a world being overtaken by a deathly plague. With the pacing of a southern Gothic tale, the plot unspools with a mysterious naturalism, in which most of the horror elements (decrepit bodies, dark spaces) occur during nightmares and visions. In the reality of the film, the foreboding intensity that overwhelms the screen comes from a skin-crawling sense more than visceral fright. The looks of people's faces. The disturbing framing of a shot. The obscure design of a tree. The impending sense of death. It really is a rare beast of a summer movie, in which the filmmakers aren't just looking for money, but are looking purpose. With flowing camera movements, long-takes, uncomfortable focus and symmetry, and uniquely brilliant lighting, Shults gives us one of the most beautiful and intentionally visual films since possibly his last under-seen gem Krisha. The performances are remarkable, with Edgerton continuing his surprising ascent to being of the most interesting dudes in Hollywood. If you're looking for escapism, you'll be disappointed; if you're looking for greatness, look no further.

Reviewed by roblesar99 9 / 10

Engrossing, Haunting, and Stunning

"Do you have any idea what's going on out there?"Early on in director Trey Edward Shults' It Comes at Night, Joel Edgerton's Paul asks Christopher Abbott's Will this question. All Will can do is shake his head. For the majority of the film, the audience is left in the dark as well, with Shults refusing to provide easy answers and instead forcing the audience to grapple with the world and moral dilemmas that he introduces. Set in a near-future where a virulent disease has ravaged the country, Shults' film focuses on two families struggling to survive in the wilderness as paranoia runs amok.It Comes at Night has mistakenly been marketed as a horror film. Make no mistake, while the film certainly produces some effective moments of dread and terror, it plays more like a marriage between a psychological thriller and a family drama. Guessing from the initial reactions from the audience in my theater, I have a feeling that the film will play like last year's The VVitch. Not only did audience members walk out halfway through, but as the credits began to roll, I could hear some of them saying "What the f**k?" and "That was underwhelming." While audience members might have been expecting a film more akin to say, The Conjuring, as a result of the film's admittedly stellar trailer, Shults forgoes conventional jump scares and instead successfully mixes bone-chilling tension with a disquieting atmosphere.Continuing with the comparisons to director Robert Eggers' The VVitch, which was coincidentally also by A24, I found that I preferred Shults' work. While both are armed with lavish cinematography and fantastic performances all around, something about The VVitch did not click with me upon viewing. I found it to be a film that I admired more than I enjoyed in large part due to its achievements in the technical departments. Perhaps it is Brian McOmber's score that makes the difference, which truly shines in Shults' film. Eerily effective, McOmber's score works perfectly in tandem with Drew Daniels' gorgeous photography to create an unsettling feeling throughout the course of the film.However, the reason the film works rests solely on the shoulders of the performers, who sink themselves entirely into their roles. Joel Edgerton is the standout here, continuing to impress with every film of his that I watch. Edgerton adeptly portrays Paul, a father whose only goal is to ensure the survival of his family. The way in which he pursues that goal, however, is what lends Paul depth, allowing for riveting observation into the way in which he handles the increasingly tougher circumstances around him. As the film goes on, Edgerton brilliantly communicates the fear and paranoia required of him. Kelvin Harrison Jr. portrays his son Travis, and I was equally impressed by his performance. Despite Edgerton receiving top billing, the soul of the story lies with Travis. By allowing us to see his dreams and capturing his moments alone in the attic, Shults imbues Travis with a melancholic spark of humanity, as he wrestles with being a teenager in a world gone wrong. Additionally, the moral dilemmas that the film explores always keep Travis in mind, using him as the balance between the two families.While Carmen Ejogo delivers a great performance as Paul's wife Sarah, Shults' screenplay falls a tad short when it comes to her characterization. While Paul and Travis both feel more realized as individuals, Sarah feels more one-dimensional, which stands in contrast to Riley Keough's Kim. Keough herself, who I first saw in Mad Max: Fury Road continues to impress and she does so again here. Lastly, Christopher Abbott does a stellar job as Kim's husband Will. An early interrogation sequence that features him as the one answering the questions left me shaken, in large part to his performance. Much like Edgerton's Paul, Will's only goal is to ensure the survival of his family, but Shults expertly manages to create tension arising from the irreconcilable differences between the two families.Many have complained about the film's seemingly abrupt ending, but I believe that Shults ends it just as he should. The final shot is silent, yet haunting, as the framing communicates more than any dialogue could.Shults does not deal in black and white, only in gray. There are no heroes and villains, only regular people struggling to survive amid an unspecified event that has brought humanity to its knees. Straightforward in its storytelling, free from unnecessary twists and turns, the film nonetheless manages to get under the skin. If you have not seen the trailer for Shults' film, but wish to see the film, then do not watch the trailer. However gripping the trailer might be, I am glad that I did not watch it before having seen the film. Go into it fresh, and you will be rewarded with one of the most thrilling films of 2017.Rating: 9/10 (Amazing)

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