Author: Natalie Teasdale

I want to share with other movie fans those amazing films that get under your skin and stay with you for days: the scary ones, the funny ones; the ones that get you thinking. With a background in creative writing, photography, psychology and neuroscience, I’ll be focusing on dialogue, what makes a great story, if the film has beautiful creative cinematography, the soundtrack and any movie that successfully scratches the surface of our existence. My aim is to always be searching for that ultimate movie, to share what I’ve found to be interesting (whether it be a great soundtrack, a great director or links to other information of interest) and to give an honest review without too much fluff. BAppSci in Psychology/Psychophysiology; Grad Dip Creative Arts and Post Grad Dip in Creative Writing. Founder of GoMovieReviews.

Blair Witch

Rated: MA+Blair Witch

Directed by: Adam Wingard

Written by: Simon Barrett

Starring: James Allen McCune, Callie Hernandez, Corbin Reid, Brandon Scott, Wes Robinson; Valorie Curry.

The creators of the original film, The Blair Witch Project (1999), and now executive producers of Blair Witch, Myrick, Sanchez and Hale wanted the sequel to be true to the 18th century myth of Elly Kedward – the woman accused by the children of Blair of being a witch.

Left to die of exposure in the woods of Maryland, Elly disappears without a trace. When the people of the town begin to disappear, starting with the children who made the accusation, the killing, the missing, the myth of the Blair Witch begins.

No-one can accuse director Adam Wingard (You’re Next, V/H/S and V/H/S2) and writer Simon Barrett (once again collaborating with Wingard on their 9th feature film, including V/H/S and V/H/S/2) of wavering from the original concept. Blair Witch, like the original Blair Witch Project, is also made up of video and images from the found footage of missing documentary makers.

James (James Allen McCune) is the brother of Heather, who is one of the three characters who go missing in the original. Heading back to the Black Hills Forest, James sets off with his good friends and documentors, Lisa (Callie Hernandez), Ashley (Corbin Reid) and Peter (Brandon Scott) to try to find his sister.

Does James really believe that his sister is still alive? This question amongst many other red herrings go unanswered.

Yes, there are some very weird happenings, but the characters don’t seem to notice or question. To the point where the only explanation could be characters in shock.  There’s definite skimming over some scary moments that could have evoked real terror with greater exploration.

It’s difficult to review Blair Witch without comparison to the original. It’s also another ‘lost in the woods’ scenario where the darkness, rain and the weird noises of the woods seem determined to make the search for James’ sister difficult.

A noted difference is the addition of two locals, Lane (Wes Robinson) and Talia (Valorie Curry, who you’ll recognize from The Following) giving the film another dimension. I was never sure what they were going to do. And in this respect the tension was allowed space to develop.

The quality of the camera work is far better and easier to watch here.

But I felt there was a lack of imagination, a lost opportunity to really ramp up the terror by giving meaning to the scary bits rather than just the shock factor: the terror didn’t resonate.

The original had the benefit of surprise as the concept of basing a film on ‘found footage’ hadn’t been done before. Here, I was expecting more of the myth so was disappointed as the scary bits weren’t enough.

Honestly, the 2nd Blair Witch, Book of Shadows (2000), had a better story-line.

For those who haven’t seen the original, Blair Witch could easily be watched without need of introduction. And the house was scary and the camera work was well done.

But I think this was a superficial scare with a lost opportunity to really ramp up the depth of terror.

SULLY

 

Director/Producer: Clint EastwoodSully

Screenwriter: Todd Komarnicki

Based on the book written by: Chesley “SULLY” Sullenberger, Jeffrey Zaslow.

Director of Photography: Tom Stern

Composers: Christian Jacob and The Tierney Sutton Band

Starring: Tom Hanks, Aaron Eckhart; Laura Linney.

“I’ve got 40 years in the air, but in the end I’m gonna be judged on 208 seconds.”

SULLY is the story of the ‘Miracle on the Hudson’, where pilot Captain Chesley ‘SULLY’ Sullenberger makes an emergency landing with 155 people on board onto the Hudson River in New York.

I remember hearing about the incident on the news back in 2009 and was amazed, along with the rest of the world, by the bravery of such a decision and the skill to actually land without a single soul lost.

But good deeds don’t go unpunished.

What I didn’t realise was the scrutiny Sully experienced by the National Transportation Safety Board (NTSB) and the nightmares and distress experienced by the pilot, Sully, and his co-pilot Jeff Skiles (Aaron Eckhart).

SULLY was a brilliantly cast film with the resemblance to the real-life crew unmistakable. The lead role, Captain Sullenberger, played by Hanks, called for a calm character who showed honesty and strength, which Hanks, of course, plays very well.

But like the character, the film was also dry and calm; the control held firmly in the hands of director Clint Eastwood.

As Hanks states, ‘Sometimes you read something that is so stirring and at the same time so simple, such a perfect blend of behaviour and procedure.’

The film focuses on the aftermath and the technicalities undertaken for the emergency landing. And there was such restraint used that even the dramatic event of the landing also had an overriding feeling of calm. So the film felt a little too even for my taste. Certainly, no-one can accuse Eastwood of over-dramatising!

There was also the element that we all know what’s coming; how it’s all going to end. It was more about the fleshing out of the story.

SULLY is an amazing story with great acting. I loved that the film makers recruited many of the people who were there that day to reenact what happened.

I just wasn’t blown away.

This is a story of a 40 year veteran who had seconds to make a life or death decision for 155 people. And he did his job. That’s the tone of the movie. A truthful re-telling without too many dramatics.

The story was played out with clever devices like dream sequences made real, personal perspectives from the passengers and flash-backs to build the suspense, but as stated before, we already know what’s going to happen!

If you’re interested in the story, this is a great film; if you’re looking for a lot of action, you’ll be disappointed.

I’m somewhere in-between: a solid movie but no real surprises.

Mountain Cry

Rated: MMountain Cry

Directed by: Larry Yang

Adapted Screenplay: Larry Yang

Music by: Nicolas Errèra

Cinematography by: Patrick Murguia

Starring: Yueting Lang, Ziyi Wang, Taishen Cheng, Ailei Yu, Jin Guo, Caigen Xu, Chendong Zhao; Siying Li.

Language: Chinese Mandarin

Subtitle Language: English

Based on: Lu Xun Literary Prize recipient novel of the same name written by Ge Shuiping.

Mountain Cry is a Chinese tale of a mute girl, Hong Xia (Yueting Lang), who moves to a remote rural village with her abusive husband, La Hong (Yu Ailei), and two children.

After her husband is killed by a detonation used in a badger trap set in the woods, a young villager, Han Chong (Ziyi Wang) is blamed for the accident.  The village council then forces Han to look after the young widow and her children until the debt is paid for killing her husband.

Mountain Cry has been beautifully adapted to the screen with director and screenwriter Larry Yang relating this amazing story of Chinese village life and the two main characters slowly falling in love.  But this film is so much more than a romance, there’s crime here and mystery.

The characters show more of themselves with each action, with each scene adding weight to the adage, show don’t tell.  There was such a gentle touch here with tragedy and longing, freedom given and taken away, responsibility and loyalty and love all revealed like leaves slowly falling.

When novels are adapted to the screen there can be the feeling of parts missing or the story being rushed or glossed over, but Mountain Cry was a complicated story given depth, revealed slowly allowing the audience to become absorbed by the mystery of Hong Xia’s life.  Not surprising that the film won Shanghai International Film Festival Media Award Best Director Award and Shanghai International Film Festival Media Award Best Scriptwriter Award.

Although set in 1984, there was a classic feel to the story: old fashioned tools used for farming, handmade paper and painted writing, and the echoing sound of voices and drums like the heartbeat of the vast mountains.

The scenery was captured beautifully by cinematographer, Patrick Murguia.  And the soundtrack a fitting accompaniment (Nicolas Errèra) to this classic Chinese tale.  But it was the characters who were the focus, and their relationships.

Although a tragedy, the story was lifted by the simple warmth of Han Chong and his ginger kitten, but you need a quiet mood for this one.  And I have to say the film was slow at times.  But by the end, I was completely absorbed and pleasantly surprised by the mystery and beauty of the story.

A slow reveal but well worth the journey.

https://www.youtube.com/watch?v=dVWcImqSilU

NERVE

Rated: MNerve

Directed by: Henry Joost & Ariel Schulman

Screenplay by: Jessica Sharzer

Based on the novel by: Jeanne Ryan

Starring: Emma Roberts, Dave Franco, Emily Meade, Miles Heizer, Colson Baker, Kimiko Glenn, Marc John Jefferies, Brian Marc, Samira Wiley and Juliette Lewis.

NERVE is a thrill ride with directors Henry Joost and Ariel Schulman putting the audience in the middle of the action.  Shot in New York, the camera work and streetscapes made the film more entertaining and better than expected.

Vee (Emma Roberts) is living in the shadow of her best buddy, Sydney (Emily Meade).  Always the cautious, wilting violet, Vee is terrified of putting a step wrong until she’s had enough of being a loser in love and life.

Sydney, being the dare devil, has managed to make it to the Top 10 of a new online game, NERVE, where the Players earn money and fame by completing dares given by the Watches.

And Vee, sick of towing the line, feels a wave of reckless youth and takes the plunge into the world of being a Player.

Knowing that she’s pushing her limits but finding a part of herself that she likes, Vee meets the hunky Ian (Dave Franco).  Loving the couple, the Watches dare the partnership on more challenging dares until the dare becomes a sinister reflection of mob mentality – where being anonymous allows behaviour that borders then becomes that of a sociopath.

It’s all about the moment recorded via the Watches’ camera phones; information about the Players taken from social media and everything available online: purchases made, banking details.  The film highlights how much information is available and how easy it is to take over a person’s life via the internet.

NERVE makes the point it’s no longer Big Brother we need to be afraid of, it’s us who are recording and sharing with each other.

Based on a young adult novel written by Jeanne Ryan, teens living adolescent lives leads to the expected awkward moments of unrequited love and the usual we’re-best-friends behaviour.  Thankfully, I was happily absorbed into the action of the online game rather than the film dwelling on the drama.

The character Vee had cringe-worthy moments, but only a few.  And the adolescent aspect was overcome by the creative camera work; where the audience was taken along for the ride.

NERVE was a lot of fun but I found it hard to take seriously when the story turned into the realm of giving a lesson.

Tapping into the teen angst of wanting to break free was still present and this was shown with unexpected edge.  I enjoyed the ride but the attempt at depth gave the film more meat not more meaning: we’ve already heard about the dangers of social media, right?

But drawing the audience into the world of NERVE and being given the feeling of taking those dares along with the characters made a suspenseful and entertaining film.

Sunset Song

 

Directed By: Terence DaviesSunset Song

Based on the novel written by: Lewis Grassic Gibbon

Starring: Agyness Deyn, Peter Mullan; Kevin Guthrie.

Set in the early 20th century, Sunset Song is a heart breaking film but as director Terence Davies states, a story that needs to be told.

Chris (Agyness Deyn) is a young girl growing up in the beautiful enduring and sometimes harsh Scottish country of the Aberdeenshire.

This is a place where beauty may not last but will be the more beautiful for it.  Where love may not last but the land will continue to endure.

The story centres around Chris and her life from family tragedy to marriage to the First World War.

Sunset Song is a love story but also a story of Scotland and the bittersweet nature of life.  There’s such cruelty yet such sweetness that feels lost in this modern age.  And to be reminded of the sacrifice of our Grandparents and all those who lost their lives during the war and broke their family’s heart is truly humbling: Lest We Forget.

I was immediately captured by the opening scene of Chris lying in the middle of a crop of wheat, hidden from view; the sun on her face.  I used to do the same thing but amongst the green stalks of canola.  Being hidden from everything and everyone except the sky.

I loved the simplicity of this film.  The soundtrack mostly the characters themselves singing.

A close friend of Chris narrates the story, describing the poetry of Chris’ life.  The lightness of the words used to balance the harsh reality sometimes endured.  And that’s the main theme here – the endurance of the characters like the endurance of the Scottish landscape.  The camera work showing the rolling green hills, the rain, mud and filtered sunlight another character of this classic Scottish story.

Plenty of space and quiet was allowed into the film.  Personally, some of the scenes could have been cut or shortened.  But that’s just my mile-a-minute modern city brain.  The film slows the mind to grasp the sweetness, the tragedy; cruelty and humility.

I wondered at the use of nudity in the film, somewhat jarring in the context of modesty, but then there was also length given to the cruelty, the light from the church window and the sermon given, to the poetry and the singing – all given in equal measure, all giving weight to the film.  This is a modern understanding of a classic story to the heart of remembering and never forgetting.

So easy to get carried away with such an emotive story.  I find war films difficult because it’s too close; too real.  The times where child birth could so easily kill the mother, the times so easily forgotten.  But Sunset Song is beautiful film and well worth watching.

Bring your tissues, lasses, and lads, bring your heart.

War Dogs

 

Director: Todd Phillips

Writers (screenplay): Stephen Chin, Todd Phillips; Jason Smilovic

Based on an article written by Guy Lawson, “Arms and the Dudes” published in Rolling Stone (2011)

Starring: Miles Tellers, Jonah Hill, Ana de Armas; Bradley Cooper.

When does telling the truth ever help anybody?  Is the title of a chapter in War Dogs.  Ironic in that the film is based on the true story written by Guy Lawson: a fascinating exposé about two 20-something year-old’s who put together what is now known as the Afghanistan arms deal worth $300 million dollars.

But War Dogs isn’t an action-packed war movie, this incredible story is about two mates seeing an opportunity and taking it.

It’s not about war, it’s about making money.

Combining this have-to-see-to-believe story with a great soundtrack (I’m talking golden oldies such as Creedence Clearwater), director Todd Phillips has brought to life the two characters, David Packouz (Miles Teller) and Efraim Diveroli (Jonah Hill): The laugh Jonah Hill gives his character Efraim is unforgettable.

And I just had to laugh at the balls of these kids.  You can’t make this stuff up.  What a story and well worth reading the article originally published in Rolling Stone back in 2011: Arms and the Dudes.

I saw a recent interview on The Tonight Show with Jimmy Fallon where Jonah talks about War Dogs and the need for a daily slathering of fake tan because he was allergic to the stuff.  Combined with the laugh and standout performance from Jonah, Efraim was the highlight of the film for me. And then there’s the legendary Henry played by Bradley Cooper: an arms dealer who was said to have sourced the rope to hang Saddam Hussein after he was convicted of crimes against humanity.

These guys are the bottom feeders, where War Dogs are those who make money out of the misery of war without ever seeing combat.

This is a film to get people talking, to shake at the incredulous cunning and open for business policy of the American Government.  And I congratulate director Todd Phillips for getting the feel just right.

The film is shown as a series of chapters, a telling example entitled: I love Dick Cheney’s American War.  And reminiscent of, The Hangover trilogy, the voice-over narrative of Miles Teller as David Packouz gives the story a personal touch.

The freeze mid-action gives the audience a chance to absorb the craziness where if someone were to tell you this story, it would be too far out there to be believed: The American government posting arms contracts to the general public for 20 year-old’s to bid on and win?

Making such an incredible story believable with fantastic acting (Jonah Hill, what a legend) and thought put into the pacing of the film, gives War Dogs a winning quality.

Whether the truth of the story will help anyone is a statement worth discussion, but War Dogs is certainly entertaining and thought-provoking.

Bad Moms

MA15+Bad Moms

Directors: Jon Lucas; Scott Moore

Writers: Jon Lucas; Scott Moore

Starring: Mila Kunis, Kathryn Haln, Kristen Bell, Christina Applegate, Jada Pinkett Smith, Annie Mumolo, Oona Laurence, Emjay Anthony, David Walton, Clark Duke; Jay Hernandez.

I just had a Bad Mom moment.  Leaving my notebook in the cinema.  And not realising until I started drinking a glass of red wine and then fluffing in my handbag, looking for it.  That’s about the extent I related to Bad Moms.  The sense of panic.  The humiliation if someone had started reading my scribbly notes.  Like someone else finding your child and having to pick them up from a stranger…  Jeez, it’s like pulling teeth.

If you’re not a mother, relating to Bad Moms is difficult.

Ami (Mila Kunis) is trapped in a world of kids, work, looking after her infantile husband, PTA meetings and everything that life can throw at you.  When she finally gets knocked unconscious at her kid’s soccer match, to then be late (again) to the PTA meeting, and then be volunteered by everything-must-be-perfect super mom, Gwendolyn (Christina Applegate), to be the ingredients police at the upcoming bake sale, it’s enough.

Ami decides she’s sick of trying to be the perfect mom.

Now, along with fellow mothers, Carla (Kathryn Haln) and Kiki (Kristen Bell), she decides it’s time to be… A Bad Mom.

Thank goodness for the comic relief of Kiki and her cheeky, loud-mouth antics.  It wasn’t that the acting was bad, there just wasn’t enough comic relief.

I had an expectation of many laugh-out-loud moments, and there were a few, but coming from Jon Lucas and Scott Moore as the writers and directors (the guys who co-wrote The Hangover I and Wedding Crashers) I expected there to be wider appeal.

I hear stories from my sisters and I can see how much pressure parents are under these days.  Women have to work and keep: home, family, kids and society in general happy.  Our mothers have worked hard for equal rights and now there’s this need to be able to do it all.  Perfectly.  I get that.  And Bad Moms is a surprisingly insightful film.

Watching the girls getting into it because they’re sick of having to be perfect was a lot of fun. But to me?  These girls needed sleep.  For a week.  So unlike The Hangover and The Wedding Crashers, I found this movie painful, and not in a funny way.

I can see a group of mums going to Bad Moms, to escape the house and kids for a couple of hours with glass of wine in hand and the relief that they’re not the only ones feeling the pressure of motherhood.  And I congratulate Bad Moms on shining a spotlight on what a modern-day mother has to go through.  But as a film, Bad Moms is made for a select audience.

Suicide Squad

Rated: MSuicide Squad

Director: David Ayer

Writer: David Ayer

Starring: Will Smith, Jimenez Fitzsimons, Ike Barinholtz, Margot Robbie, Jared Leto, Cara Delevingne, Jai Caurtney, Joel Kimaman, Adewale Akinnuoge-Agbaje, Viola Davis, Ben Affleck, James McGowan, Jim Parrack, Ezra Miller; Jay Hernandez.

With such a huge amount of hype my expectations were duly high for Suicide Squad.

Was I impressed?

It comes down to the entertainment factor for me. Without a doubt, I was entertained.

Suicide Squad is an inverse to the usual superhero movie, where the bad guys are good and the humans, particularly Amanda Waller (Viola Davis), have become the devil incarnate to keep the human race feeling safe.

It’s a time of fear where mere mortals are faced with the idea of being over-powered. What would happen if Superman decided to take the President and drop him from the sky? No one would have been able to stop him.

To protect the human race, Amanda Waller puts together a squad of super-villains. Those with superpower but those locked away for being, well, bad. And now an Enchantress (Cara Delevingne), a genie let out of the proverbial bottle, has come to take over the world.

There are a lot of big names here, the stand outs for me: Margot Robbie as Harley Quinn and Will Smith as Deadshot. I’m not always a fan of the Smith, but he played Deadshot well, managing to give the character warmth and depth.  There’s also a chemistry between Margot Robbie and Will Smith that works and appears genuine on film.

I have to say I was let down by the Joker (Jared Leto) after so much hype. The Joker in a film full of big characters felt crowded, but the twisted love story with Harley Quinn was a nice twist to the usual superhero love story.

The editing was conducted so even a second was counted.  A couple of jolts at the beginning and the rest of the film was seamless.  To fit so much and still give air to the story and characters, director and writer David Ayer is to be commended. And the rock’n soundtrack gave a great pace to the film.

A few gaps have to mentioned. If you don’t have prior knowledge of Suicide Squad or included characters, some of the backstory was a bit thin.  How a psychiatrist becomes a marital arts expert because she’s suddenly crazy was a stretch. And I would have liked more heart from Katana.  But more backstory of some characters would have meant cutting others.

Suicide Squad isn’t just a superhero movie, there are elements of fantasy (which I thoroughly enjoyed) put together with fun characters, a great soundtrack and a story held together enough for the film to be entertaining.

 

 

 

 

 

 

 

 

 

Louis Theroux: My Scientology Movie

Rated: MLouis Theroux My Scientology Movie

Writer and Director: John Dower

Writer and Presenter: Louis Theroux

Featuring: Marty Rathbun, Steve Mango, Marc Headley, Tom De Vocht, Jeff Hawkins, Andrew Perez (as David Miscavige) and Rob Alter (as Tom Cruise).

After 25 TV specials focusing on some of the most intimate and angst-ridden aspects of the human condition: religion, racism, sexuality, criminal justice and mental health, Louis Theroux has returned with a feature film about Scientology.

Using actors mixed with candid interviews between Louis and the ex-members, the film shows an amusing determination to make the documentary with increasingly bizarre interactions with the current members of the organisation where the crew are followed, filmed and confronted. All the while Louis Theroux continues to attempt a balanced perspective of the church, but the strange behaviour and constant re-buffing of the Scientologists reveals a disturbing reality.

Marty Rathbun, an ex-member and at one time the ‘Inspector General’ (the most senior executives in Scientology), responded to Louis Theroux’s call to partake in the documentary. While re-enacting an abuse scene, Marty says to Theroux, ‘I thought you liked the idea of having your face ripped off.’

‘But that was only play acting.’

Where Marty responds, ‘Exactly.’

When Marty makes this statement, it really brought home the devious nature of the religion.

Marty goes on to explain how the counselling is conducted by the Trainers, and how anxiety is cleared through the use of the e-meter. If the machine registers a response while the subject is holding the paddles, then the thought causing the anxiety will be revealed and discussed with the counsellor until the machine no longer registers a response. That means the anxiety has been cleared.

An effective counselling technique that is no doubt very helpful to the person discussing and dealing with negative thoughts.

Marty then explains how the church plants the idea that every good thing that happens in your life is because you have cleared these anxieties and is therefore to be attributed to the church and to Elbert Hubbard. And then to go on and to also contribute every bad thing that happens to the fact you’re not practicing the principles of the organisation correctly and therefore everything bad thing in your life is your fault.

This is how the church of Scientology creates a psychological trap and therefore exerts mind control over its members.

I’d recently seen another documentary on Scientology, ‘Going Clear: Scientology and the Prison of Belief‘, also featuring Marty. Going Clear shows a negative account of the church’s practices with more focus on the tax exemption of the church as a registered religion.

Louis takes a more personal interest in Scientology with a genuine motivation to get the organisation’s side of the matter; which is continually rejected.

You can see that Louis is concerned that his advances towards the Scientologists are rejected because he’s brought Marty on board. And through-out the documentary there is tension between Marty and Theroux: an interesting personality clash where each man attempts to stare the other down.

I can understand Louis holding a negative view towards Marty, always wondering what this man has done as the ‘Inspector General’, and if he’s speaking against the church out of rejection and spite.

And here we can see the continued drive from Theroux, to be open and see the church in a positive light. But the church in its harassment and complete inability to even acknowledge Louise’s attempt at conversation only reinforce what Marty is sharing.

The success of My Scientology Movie is the revealing insight into the psychological damage that can be caused by just trying to the do the right thing, and showing the depth of control of the organisation, I mean church, that can, understandably, make you paranoid.

Lights Out

 

Directed By: David SandbergLights Out

Screenplay: Eric Heisserer

Based on a Short Film by: David F. Sandberg

Cast: Teresa Palmer, Gabriel Bateman, Alexander DiPersia, Billy Burke, Maria Bello, Alicia Vela-Bailey, Andi Osho, Rolando Boyce; Maria Russell.

Although a sometimes tense horror-thriller, Lights Out felt lightweight.

This is a difficult story to tell and I don’t want to give too much away.  Suffice to say Rebecca’s (Teresa Palmer) mum’s (Maria Bello) having a meltdown and she’s scared her kid brother’s (Gabriel Bateman) in trouble.  Like she was at his age.  When she was being haunted by her mum’s imaginary friend, Dianne.

Director David Sandberg (who also created the short film) puts effort into the atmosphere of Lights Out.  The soundtrack is a creepy backdrop to the shadows and glowing eyes of the creature that is Dianne.  And the screenplay itself is well-thought with a backstory of how Dianne became.

The missing element to the film was the lack of depth of character.

Rebecca, the rebellious daughter and protagonist of the film was dismissive and her boyfriend, the ever faithful Bret (Alexander DiPersia) was frankly, too nice to believe.  Not to sound bitter but do guys like Bret actually exist?

Martin, the kid brother, was a bit strained; the mother, Sophie the only really believable character.

I love a good horror, and there were definite tense moments.  I jumped at least once.

Clever devices were used: plastic sheeting covering the bodies of plastic, life-sized models is creepy.  And tapping into the deep-seated fear of being scared of the dark was well shown with the character of Dianne conversely being scared of the light.  But because the other characters weren’t believable, it became difficult to hold the suspension of reality concerning Dianne.

The film was missing that heavy weight, the surprise I’m coming to expect from modern horror directors such as James Wan (note here he was the producer not the director for Lights Out).

Better than your average trashy horror but I’d say Lights Out was directed at a younger audience.