Review of Lights Out (2016) by Connor K — 22 Apr 2017

*WARNING: SPOILERS*.

The problem with most horror movies is that they lose just about all of their appeal when viewed in any environment other than complete darkness (and on a massive screen). Lights Out is no different, especially when taking its premise into account. But what about when it's viewed exactly how it's meant to be; in the biggest theater you can find? It's pure R-rated, rip-out-your-armrests horror, which isn't suggested by its PG-13 classification. The movie also skillfully proves that it is indeed possible for PG-13 spookers to have a lingering effect.

Rebecca is a woman with a flawed and distant relationship with her misguided, alienated mother, Sophie. However, she shares a much closer bond with her younger brother Martin. Martin is experiencing increasing difficulties in his everyday life due to sleep deprivation caused by sleepless nights, which are further caused by the unwelcome presence of a demonic entity named Diana: a darkness-dwelling nightmare with a disturbing connection to Martin and Rebecca's mother. Rebecca, as it turns out, experienced similar events during her own childhood years. Diana's malevolent return to haunt and torture this fledgling family engages them in the ultimate fight for survival.

The premise had an original enough twist for me. It's this film's strong concern with the importance of family that sets it apart from the majority of mainstream horror productions. The grossly overrated Insidious comes to mind when taking this into account. That film's biggest hindrance was the stale performances of the lead actors. Consequently, every supernatural setback that the fictional family encountered made the audience happy it was happening to them. The Lamberts simply weren't characters worth caring for (an issue that would be fixed with the release of Chapters 2 and 3). Contrarily, Lights Out introduces us to an involving family with ease, thanks to its chilling prologue, which involves Diana brutally murdering Martin and Rebecca's father.

Child actors are often targets of relentless derision. Gabriel Bateman, Martin's actor, deftly dodges major characterization issues simply because the character has surprising depth. Insidious, on the other hand, had a thoroughly uninteresting child protagonist, played by the hit-or-miss Ty Simpkins. Martin is a more than welcome change of pace: a turmoil-stricken lad who's also tough.

I am not familiar with any of Maria Bello's previous work, but she is a fairly well-known actress and executes some fine work here. Teresa Palmer, another highly talented actress, is also delivers, interacting with the duo of Bello and Bateman in a believable manner.

Diana's origin story has been criticized as illogical. Since when have logical ghost stories been scary? Never. Yes, the fact that blacklight has a different effect on Diana than standard light is a little absurd, but the lack of realism is compensated for by some truly disturbing sequences. If the horror genre was a scientifically accurate affair, it would have absolutely no reason to exist. It's a genre where the absence of realism is necessary for its own function.

The finale is quite emotional. The three family members in addition to Rebecca's somewhat heroic boyfriend Bret hold on to each other for dear life as Diana ferociously stalks and torments them, after disposing of an entire police squad. The film dramatically peaks when Diana corners Rebecca, preparing to kill her. Sophie, understanding that she is the only thing keeps Diana connected to this world (watch the movie for clarity), tragically sacrifices herself to save her children. It's a painful but relieving climax. Though a truly memorable character is gone, at least the viewer doesn't have to worry about wetting his or her undergarments. At least, that is, until the definite sequel, which is set up perfectly by the final shot.

Lights Out is definitely worth watching, even if you have to do so under certain lighting conditions. It warrants repeated viewings, a true miracle for a film that is part of the polarizing world of modern-day horror cinema.

Grade: A-.