Review of The Strangers: Prey at Night (2018) by Garry A — 20 Jul 2018

The original 'The Strangers' was a bit of an underrated genre classic really. It emerged at a time when 'home invasion' films were more of a niche than they are now. 'Scream', the previous decade, had kick-started similar films, but the novelty to be found in 'The Strangers' was, as the title alludes to, the impersonal relationship between the victims and their pursuers. The killers there were not targeting their victims because of their indulgence in drugs, alcohol or pre-marital sex, or any of the other triggers associated with Craven's post-modern take on early slasher films; they were doing so because, well, why not? It was this randomness that made it an effective chiller.

The sequel, shot ten years later, which is a surprise considering the first film was a commercial success, follows a similar premise, but instead shifts locations from a remote rural farmhouse, to a secluded trailer park. This time it is your typical American family, visiting relatives who find themselves ultimately being stalked by a trio of masked remorseless killers. While events then play out in a pretty predictable manner (although the two lead kids offer excellent performances - Lewis Pullman [Bill's son] in particular), the film manages to elevate itself slightly above the usual genre fodder by virtue of raising it's game when it comes to set-pieces.

The film is genuinely tense throughout, but during the final act there are two sincerely great sequences that stand out. Music plays a big part in this film, with 1980s soft-rock being the oeuvre of choice, whether it be when it is blaring out of the killers pick-up truck, or more particularly around these two key scenes - the first is framed by Bonnie Tyler's 'Total Eclipse of the Heart' and takes place in a swimming pool - the way the music drifts in and out, as the action takes place below and above the water, is really well executed. The second is set to Air Supply's 'Making Love Out of Nothing at All', occurring during the film's climatic chase scene, and is again a wonder of sound design and editing. To take two unimposing songs and make them seem threatening is something that I can't remember seeing handled so well since perhaps 'Reservoir Dogs' and 'Steeler's Wheel'. Who knew the music of Jim Steinman could be so menacing?