![]() Indeed, enduring the psychological torture he applied to his love-seeking wife Paula, played by an emotionally versatile Ingrid Bergman, was such an infuriating experience that I left almost one decade between the first and the second viewing, and I literally tiptoed to the DVD to force myself to refresh my memory. I don't think I've been as distraught and upset by a villain as I was by the manipulative expert Gregory Anton in George Cukor's "Gaslight", the most famous and best adaptation of Patrick Hamilton's play. In other words, it is The Strangers dragged down to the level of the average slasher film.They say a film is as good as the villain, but sometimes, the villain might be too good for the film's own good. Even the adults – and two most known actors, Christina Hendricks and Martin Henderson – are bumped off first and the bulk of the film enacted by the two teenage characters. (Certainly, daughter Bailee Madison is about to be sent away to boarding school for some transgression we are never privy to). The first film gave us a domestic couple but made a point of telling us nothing about their background by contrast, the sequel gives us a regular family and their bickerings. Moreover, the plot set-up has become something more routine. Even the masked characters feel like they have had their effect rendered as something by-the-numbers by their copyings in the The Purge films and the likes of You’re Next (2011), Jackals (2017) and Ghostland/Incident in a Ghostland (2018). There are none of the eerie or jump out of your seat moments that the original had. His scares are perfectly serviceable but in the end nothing memorable. The Strangers was filled with a series of eerie pop-up scares, whereas Johannes Roberts delivers Prey At Night down around the level of the average psycho/slasher film that this site watches by the bucketload. It might be in the change of directors but The Strangers: Prey At Night lacks the same frisson that The Strangers did. The return of The Strangers – (l to r) Pinup (Lea Enslin), Man in the Mask (Damian Maffei) and Dollface (Emma Bellomy) Subsequent to this, Roberts went on to make 47 Meters Down: Uncaged (2019) and Resident Evil: Welcome to Raccoon City (2021), as well as the standout Suicide Bid episode of V/H/S/99 (2022). His selection here was apparently on the basis of the reasonable breakout success of the underwater survival drama 47 Meters Down (2017). Roberts has been a genre regular with the low-budget likes of Sanitarium (2001), Alice (2002), Darkhunters (2004), Hellbreeder (2004), Forest of the Damned (2005), F (2010), Roadkill (2011), Storage 24 (2012) and The Other Side of the Door (2016). The sequel ended up in the hands of British director Johannes Roberts. In the interim, the initial promise with which Bertino had been heralded as a director seemed to dissipate in the long wait for his follow-up with the unremarkable Found Footage film Mockingbird (2014) before he made a fine return to form with The Monster (2016). ![]() Bryan Bertino was attached for a number of years but eventually parted ways and only attains a co-writer credit on the finished film. After that film’s sleeper success, a sequel was immediately announced. I have seen it cited as one of the best horror films of the decade. The Strangers (2008) was a directorial debut from Bryan Bertino that quickly gained a word of mouth. Immediately after they settle into their cabin, they are attacked by a trio of masked figures. They arrive at the camping ground to find the office deserted and keys left for them. There are tensions within the family over the fact that Kinsey is about to be sent away to boarding school because of the trouble she has gotten into. Husband and wife Mike and Cindy and their two teenage children Kinsey and Luke depart for a vacation at the Lake Gatlin camping ground owned by a relative. ![]()
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