Synopsis
Silence can be killer
A deaf woman is stalked by a psychotic killer in her secluded home.
Hush
2016 Directed by Mike Flanagan
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There are several points where this movie could have ended if each of these two characters weren't so fucking idiotic but whatever, I guess they have to do whatever the magic dipshit who probably wrote this script on a bathroom break says otherwise he'd be out of the job and less of a hack.
In spite of some pretty decent direction and nice looking cinematography, this movie is fucking stupid and really boring with a really big lack of tension due to poorly written characters and flat acting.
Unless in needing of a haircut since these characters actions are so brain dead that you'll be bald by the end of the reasonably short run time just from how many times…
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HOW CAN SHE HEAR THE VIBRATIONS FROM THE FIRE ALARM BUT NOT HER FRIEND BEING MURDERED AGAINST A WINDOW?
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One of the many fascinating things to ponder whilst watching Hush is how a deaf quarry is as much a liability as it is an advantage to a besieging masked psycho. All that time and effort spent on making strategically creepy noises rendered totally useless! Hush has very effective sound design, dialing in and out of what the heroine cannot hear but the audience can, forcing spectators to hyperfocus on the entire range of the visual field for possible movement. Home invasion with complication is always something I can be interested in, and Hush delivers, coming all the way inside because we left the door unlocked and forgot about it until it was too late!
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It's a horror movie which focuses on some random murderer chasing a woman around her property and trying to kill her, and that woman--pretty much the only point of view of the film--is deaf, so why the fuck does this have diegetic sound? It's so obvious, and it would be so much scarier. It's probably an even more obvious choice than it is in A Quiet Place, although it might not have as much of an effect because the bare bones here are far weaker. I guess my main problem lies with the villain. Obviously he's more interested in tormenting than he is killing, he was in the house earlier and didn't kill her, which means he's more psychotic than…
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With HUSH, Mike Flanagan does what he apparently does best — takes an interesting premise and drags it out as long as he possibly can (81 minutes, in this case).
HUSH's "Ooh, that's novel" conceit is that the protagonist, Maddie, is deaf. She has isolated herself in the woods to write a novel. A white-masked killer stumbles upon her and, unbeknownst to Maddie, begins sneaking through her house.
This does make for some harrowing suspense, particularly through the first half of the film. But once HUSH devolves into standard action-thriller fare by the second half, a lot of intrigue wears off.
The first 40.5 minutes fly by; the second 40.5 drag on. Impressive feat!
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In the film hush, there were many forms of cinematography that would evidentially create suspense. As the protagonist is deaf the film is usually through her perspective and how she relies on her sense to survive an intruder. Throughout the film there are dramatic shots and use of lighting to intensify the scene. As for the most part of the film the intruder is seen outside of the house there is a use of front and back light to create a spotlight onto this man. To also make him seem visible to the camera and make it more suspenseful for the audience to know what will happen. Overall the cinematography is seen all throughout the film which it then introduces the fear into the film, which is why the film would be considered that of the horror genre.
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Simple premise but so well done! Rarely do you see logical behavior in terror/horror movies and here I really empathized with the main character's desperation. Juicy.
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shit was kinda intense, but i couldn't take the psychopath in this movie too serious, especially when he wears a mask at the beginning of the movie
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