2018 Directed by Johannes Roberts
A family’s road trip takes a dangerous turn when they arrive at a secluded mobile home park to stay with some relatives and find it mysteriously deserted. Under the cover of darkness, three masked psychopaths pay them a visit to test the family’s every limit as they struggle to survive.
James B. Harris Ryan Kavanaugh Trevor Macy Ken Halsband Mark Kassen Wayne Marc Godfrey Robert Jones Jon D. Wagner Mark Lane Alastair Burlingham David Dinerstein Brett Dahl Charlie Dombek S. B. Weathersby Jason Resnick William Sadleir
Les inconnus: Proies nocturnes, The Strangers: Part 2
Horror, the undead and monster classics Intense violence and sexual transgression horror, gory, scary, killing or slasher scary, horror, creepy, supernatural or frighten horror, creepy, eerie, blood or gothic zombies, undead, horror, gory or flesh creature, aliens, monster, sci-fi or scary Show All…
Before you look at this rating and say "oh wow I guess the Strangers sequel is actually pretty good," first consider that I am a huge glutton for:
- neon
- synthpop
- fog
- HEAVY Carpenter influences
- cool title cards
- slasher movies, especially shitty and ridiculous slasher sequels with masked killers
If you yourself are also a glutton for these things, proceed. If not, back the fuck up.
Was hoping I'd like this as much as the original
that I just watched for the first time a few weeks ago.
I did not.
☑ neon lighting
☑ synth score
☒ ryan gosling
conclusion: if youre gonna have that much neon and synth why not throw in ryan gosling
A highly stylized slice of blood-drenched neon that ditches the majority of the home invasion aspects for slasher mayhem—particular 70’s and 80’s Hooper and Carpenter influences and I’m all about it. Works for me far more than it’s predecessor (which I liked) did, mixing in grim situations with 80’s pop song deaths, tons of fog and killers silhouetted by it, genre satire, numerous slow zoom ins, excellent lighting, a piano jam that owes a lot to The Fog, and one holy fuck pool scene I won’t forget anytime soon as it pushed me from ‘like’ territory to the ‘LOVE’ zone. For the most part, post scream slashers haven’t aged very well for me, so a nice little throwback mask murder…
Brutal piercings of the flesh, blunt trauma, and post-traumatic stress; a non-stop tension-fest from beginning to end (only this one sticks the landing). The anxiety of love and familial bonds being stripped away like skin from bone. Blood-written hellos echo through the halls of the human psyche, and leave behind mental wounds that run deeper than any physical infliction ever could. The pain of loss, greater than the pain of penetrating flesh; disrupted & destroyed not by the bullet, but by the erosion of normality, and knowing that you're life will never again be the same.
look, "what if the original but way nastier and more 70s zooms and split diopters" is objectively good sequel material no matter what, i don't make the rules. not much more than a formal riff on hooper/carpenter ultimately but still way more interesting than bertino's ~spooky~ minimalism.
a 70s horror homage with actual character, tension and great direction, a staggeringly profound and layered slasher, violence is meant to be feared and hated and even the moments of revenge ache with furious trauma and anguish. johannes roberts auteurism baby, also goddamn bailee madison grew up to be one powerhouse of an actress, her expressions and screams will stay with me for a long time.
88
"On the third track of Daft Punk’s Random Access Memories, Giorgio Moroder discusses the usage of the synthesizer and its basis as “a sound of the future.” He goes on to say that “you can do anything you want”, as there is no judgment, no preconceptions, with the rhythms of the expansive technology. It was, admittedly, a time where romance of futurism and media were frustratingly connected, with the genre-fare becoming bleaker and increasingly aggressive, tuned to the beats of mutilated flesh and existential ennui. The music was waiting for the world, and our perception of it, to speed up and ignite towards The Jetsons, but the result of synth in the ‘70s and ‘80s is clashing ambiance, doomed to accompany a world unfit for its possibility."
Is more of a good thing, always a good thing? This is the question you will answer for yourselves as you watch the sequel to The Strangers. Dollface, Pin-Up Girl and Man in the Mask are all back, and they’re all front and center. They’re not hiding in the bushes, ringing doorbells, knocking on doors and making strange noises. Naw, they’re chasing a family around in a trailer park that’s best described as: Camp Crystal Lake the Trailer Park from Hell edition.
There’s a lot of jump scares. In fact, probably too many. However, this is a highly entertaining survive the night / run for your fuckin’ lives feature film. I like the cast. Martin Henderson and Christina Hendricks make…
Tamara, where the fuck are you? Will these freaks ever find her?
By the way nice soundtrack
