Prey At Night is a disposable, instantly forgettable sequel that just doesn’t cut it. It becomes less of an intense series of scares and more of a series of predictable showdowns, where you can keep a mental scoreboard on who is winning / losing. The Strangers: Prey at Night Studio: Aviron Pictures Producer(s):, Robert Jones, Mark Lane, James Harris, Wayne Marc Godfrey Cast: Christina Hendricks. The Strangers: Prey at Night (2018) A family of four staying at a secluded mobile home park for the night are stalked and then hunted by three masked psychopaths. Opening out the story removes some of the claustrophobia of the original. It’s competently made, but Roberts never shakes off the impression that we’ve seen all this before – and better executed too. This extends to the 80s-infused, John Carpenter-esque score and titles. For a modern film, it comes across as rather retro in its delivery. Johannes Roberts (47 Metres Down) shows some visual flair in his direction though, in a neon-soaked swimming pool chase scene and a flaming car that stalks a character. Any attempt to flesh out a more detailed motive is wasted here. When asked why they are doing this, one replies ‘why not?’. That one told the following story: Mike and his wife Cindy take their son and daughter on a road trip. Dimly lit, deserted and lacking any proper weapons, it’s prime hunting ground for our three masked psychopaths (one male, two female). Directed by Johannes Roberts, The Strangers: Prey at Night didn’t come along until 2018. When they arrive at Camp Gatlin Lake, it might as well be Camp Crystal Lake. There’s your basic American family, so cardboard that they’re just waiting to be sliced and diced rather than fighting back with all they’ve got. How true is open to interpretation, as the characters here are dumb enough to deserve being terrorised. It also becomes apparent that Prey At Night is inferior to its predecessor.Īs with the first film, this follow-up is based on true events. It’s a lesson that the Saw films learned straight away. This reviewer has to wonder why anyone bothered, since the time to capitalise on a film’s success should be within a year or two – particularly with fickle horror audiences. A belated sequel of sorts has followed a decade later with The Strangers: Prey At Night – even though the sequel was announced back in 2009. The Verdict: The 2008 horror flick The Strangers was memorable for being a home invasion film which took its time, ratcheting up sustained tension while not giving any easy answers. This stranger is not alone and so begins a night of terror… Not long after, a masked figure breaks into the mobile home and starts stalking them with murderous intent. She calls again later, saying the same thing. That is, except for the young woman who knocks on their door looking for ‘Tamara’. They arrive late at night at a mobile home park run by a relative. The Plot: Cindy (Christina Hendricks) and her husband Mike (Martin Henderson) are going on a vacation with their two teenage children, Kinsey (Bailee Madison) and Luke (Lewis Pullman). Starring Christina Hendricks, Martin Henderson, Bailee Madison, Lewis Pullman. The film received mixed reviews from critics, with some considering it to be more entertaining than its predecessor and appreciated its satire of horror films, while others noted it as inferior to the original and called it clichéd.The Strangers: Prey At Night (USA / 16 / 85 mins)ĭirected by Johannes Roberts. The Strangers: Prey at Night was released in the United States on March 9, 2018, and in the United Kingdom on May 4, 2018, grossing $32.1 million worldwide on a budget of $5 million. After a troubled development period, filming to the sequel began on May 30, 2017. Directors Laurent Briet and Marcel Langenegger were considered to direct, but landed eventually to Roberts. It was originally slated to enter principal photography in 2009, during which time it was tentatively titled The Strangers: Part II. Development of the film began in August 2008, when Rogue Pictures had confirmed that a sequel was in the works, with Bertino co-writing the screenplay with Ketai.
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