It Comes at Night

A fairly straightforward post-apocalyptic story, tightly focused on human torment, but suffused with surprising, undeniably atmospheric sights and sounds.

Edgerton gives another masterly minimalist performance, and Ejogo and Harrison are preternaturally alert.

Scored intensely and photographed vividly, the electric film imagines a small slice of doomsday with horrific believability.

It's not a sexy apocalypse, with a disease that transforms everyone into really cool zombies. It's just death. And it's not an easily managed "Doomsday Preppers" scenario solved by bulk foods from Jim Bakker infomercials. It's just doom.

Midway through "It Comes at Night" you might wonder where it's headed, and it seems Shults may have asked himself the same question. It's a breathless thriller that will leave you gasping until it finally runs out of air itself.

In the absence of such answers, or the intimation of such answers, or even of characters in pursuit of answers, It Comes at Night begins to seem thin, a torment without purpose.

The movie has its flaws. But one of Shults's main triumphs is to get us to believe in the danger of the outside world as fiercely as his characters do.

When It Comes At Night came to an end, the entire audience collectively released the breath we'd all been inadvertently holding.

Recommended for those who like psychological horror and stories of the genre. [Full review in Spanish]

The intimate film gets under the skin by examining paranoia, trust and fear of the unknown.

It Comes at Night is a serious affair, well constructed and performed, and certainly effective.

Shults's adoption of a more vicious mode sharpens his already discomfiting take on families in states of extreme duress in his debut feature Krisha.