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Watch lights out 2016 movie12/19/2023 This, we can infer, is because of the broken family life she left behind: her mother, Sophie (Maria Bello) has frequent bouts of crippling depression, which was apparently enough to drive Rebecca's dad away many years ago. So we've got Rebecca (Teresa Palmer), about whose current life we learn very little other than that there's a guy, Bret (Alexander DiPersia), who's over-the-moon crazy for her, but she wants very much to keep things at "we hang out and have sex" level, even after eight months. The feature-length Lights Out is not as good as 80 minutes of the 2.5 minute Lights Out, since at that length it's obliged to trot out character drama, and the drama it comes up with isn't the best in the world. Sandberg already proved himself capable of that back in 2013, when he used this same idea for a punishing little short - also titled Lights Out - that earned him the chance to expand it into this feature, with the assistance of writer Eric Heisserer (the curious can find the short online without too much effort - right here, for example - and if you're not curious you really ought to be). So what, if it's well-executed, and director David F. If that sounds familiar, that's because there's nothing inherently unique about this conceit: if nothing else, Lights Out bears clear similarities to "Blink", among the best-loved episodes of the 21st Century incarnation of Doctor Who, and I shouldn't think that it was invented there, either. And when you turn the light back off, it can attack with those awful talon-like figures. When the light is on, that figure disappears - but it can move. The hook is absurdly straightforward: when the light is off, it is possible to see crouching in doorways or in the backs of rooms the figure of a spindly humanoid with long scraggly hair. It is a "scare the bejesus out of you" movie. In fairness, it's not really trying: at no point in that little sketch did I actually get as far as the film's actual protagonist, the woman's adult daughter by a previous marriage, and calling Lights Out a symbolic study of anything is already loading it up with baggage it wasn't built to carry. Having compared it to The Babadook, I might as well keep on doing it: like that film, Lights Out is a symbolic study of depression, specifically how a woman whose husband has recently died begins to fall apart, leaving her young son to deal with the emotional fallout, which comes in the form of a long-fingered, rasping ghost that flutters around at the edges of the light. Setting that aside, is this, in fact, a good movie? Well, that depends on what you consider "good" to mean. Even after it had fully laid out all the exposition clarifying what was going on - especially after that point, in fact - which virtually always the death knell of cinematic ghost stories. Since at least The Babadook, and even that at least let up now and then Lights Out succeeded in continuously freaking my shit out right up till the very end. Scary is subjective, what makes one person quiver down to the base of their spine makes the person sitting next to them yawn with boredom, all that good stuff, and I wasn't thinking about any of that "let us be sensibly objective" bullshit while I was quivering in pleasurable agony in the mostly dark theater watching Lights Out, a horror film that jangled every last one of my nerves more expertly than anything in ages.
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