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‘It Follows’ Review: Best New Horror Movie in Years

IT FOLLOWS-Jay in Car

It Follows” is technically a 2014 movie, but with its wide theatrical release this past weekend (seeing even popular festival movies in my local non-NYC/LA theatre is getting rarer and rarer), it is currently my reigning favorite of 2015.

David Robert Mitchell’s sophomore effort, “It Follows” is an anxious, nightmare logic horror film about Jay Heights (played by the lovely and talented Maika Monroe from Adam Wingard’s The Guest and Sofia Coppola’s The Bling Ring) doing the deed with an older boy and now, uh-oh, she’s cursed. Mitchell’s movie is not merely about a girl labeled as a “slut” but as someone actually cursed by having sex, someone who is now being stalked by her deed in the form of an amorphous monster that can take the shape of anyone—strangers, or even people she loves. This boogey man stalks her from a distance, approaching slowly at a walk, hoping to grab hold of her and kill her off once and for all.

“It Follows” touches on the anxieties of many virgin (or not quite virgin) teenagers fixing to do the deed, as Nic Cage in “Peggy Sue Got Married” would say, “What, you mean sex? Ha ha, intercourse. You wanna have intercourse?”. Mitchell harnesses this anxiety wonderfully into an expertly crafted genre picture that is nostalgic of movies from the 1970s/1980s (for me, it touches the same nerve as the original “Nightmare on Elm Street”).

IT FOLLOWS-Mirror WS

“It Follows” looks great. Shot on the Arri Alexa and Red Epic, Director of Photography Mike Gioulakis (“John Dies at the End”) creates a cold, eerie world ripe with pretty colors and people in desolate Detroit.

As Variety put it, “As Mitchell explained at the pic’s premiere in Cannes, ‘It Follows’ marks his attempt to make a ‘beautiful horror movie’ — equal parts gentle and aggressive.  At times, his meticulous compositions rival Gregory Crewdson’s ethereal suburban-gothic photographs.”

Untitled from Beneath the Roses (2003–2005) Gregory Crewdson
Untitled from Beneath the Roses (2003–2005) Gregory Crewdson

A friend of mine commented that “It Follows” reminded him of Nicolas Winding Refn’s 2011 proof-in-digital-filmmaking-excellence “Drive”. I was a little thrown off by this. It took reading Mitchell’s quote on a “beautiful horror movie” to understand the “Drive” reference. Just as “Drive” was a beautifully violent movie, “It Follows” is a beautifully eerie movie.

The movie starts off with a 360-degree camera pan around a Detroit suburban street as a teenager runs out of her house in her pajamas (and high heels), seemingly fleeing for her life from a presence we (and her neighbor) cannot see. The actress does a wonderful job of registering the fear in one frame, then backpedaling when she realizes nobody can see her assailant, playing it off, running back inside, and returning to speed off in the family car.

Filmmaker Magazine on the 360-degree shot: “Unlike dopamine-inducing mood enhancers, the opening sequence of unique hybrid ‘It Follows’ aims for atmosphere, not climax…It is cinematic foreplay, simultaneously tease and microcosm. Over the span of several minutes, David Robert Mitchell succinctly anticipates not only the plotline of the narrative, but also its themes and infrastructure.”

As an avid fan of Paul Thomas Anderson’s “Boogie Nights”, I’ve always loved the 360-degree pan. Anderson’s scripted circular shot around Eddie Adams’ bedroom early in the film is both evocative and appropriate. Like the opening of “It Follows”, Eddie’s wall posters of bikini babes and muscles cars, his massive dong squeezed into a tight pair of undies, his practicing kung fu moves in the mirror; all these elements “anticipate not only the plotline of the narrative, but also its themes and infrastructure.”

A similar nod to Anderson would be the use of an extreme close-up of Jay in a hospital bed. There are not many close-ups in “It Follows”. In fact, mostly wide angle Cooke S4 lenses are used for the film’s entirety. Paired with the 2.35 : 1 wide screen aspect ratio, we are constantly looking over the character’s shoulder for the spooky “It”. So when we do get a close-up, it packs a punch. The ECU of Jay’s bloody bandage, with its fine focus and heavy falloff, is reminiscent of “Boogie Nights” many close-ups, shot with anamorphic zoom lenses.

IT FOLLOWS-Head Wound INSERT
“It Follows” Extreme Closeup
boogie_nights_-_close-ups_objects_etc_1-1
“Boogie Nights” Extreme Closeup

The movie’s beauty is chiefly displayed when Jay has sex with Hugh in the back of his car in an abandoned lot. The shot is used prominently in the trailer and was the main image I remembered other than Maika Monroe in her pink bra strapped to a wheelchair.

IT FOLLOWS-Car

Variety said, “If ‘Myth (of the American Sleepover)’was his John Hughes homage, then ‘It Follows’ is the director’s best stab at doing John Carpenter.” The parallel to John Hughes is interesting and isn’t lost on “It Follows”. Particularly, in his regard to sex and how he treats the teenage, sometimes goofy choices of his characters with the utmost respect.

Filmmaker Magazine had an interesting look on the sex scenes: “Her (Jay) enervating encounter with Hugh and Greg’s comforting presence are catalysts for sparks of desire, with Jay at the apex of a triangle including both Greg and Paul. Atypically for teen flicks, sex among the trio is fairly pleasure-free, especially for Jay, who performs like the cold wife in I-have-a-headache jokes.”

IT FOLLOWS-Front Lawn

Sex is never really shown for pleasure’s sake, which actually makes the sex scenes some of the most interesting to date. Whether it’s Jay riding Hugh in the backseat of his car moments before being chloroformed, Greg eagerly pumping Jay in her hospital bed under the guise of wanting to understand what she’s seeing (a very clever take on the lengths men will go through to get laid), Paul’s awkward attempts to capitalize on bedding Jay finally being fulfilled towards the end of the film, or the intense sequence where Jay strips and paddles out into the water towards a boat full of men, presumably to pass the curse off to one or all of the men aboard.

The sex serves a purpose to Jay that is not pleasure. It aids the plot, so that we’re not merely watching teens bone for the hell of it. As Desiree Akhavan (“Appropriate Behavior”) put it, “To me, the best sex scenes are not about sex. There has to be a reason we’re watching them fuck.”

IT FOLLOWS-Underwear Mirror

Mitchell asks the question, “what happens when you have sex?” What stigmas linger after? What have you lost? What stains your soul post-coitus? What happens if you don’t have sex? Since, in his narrative, the only way to get rid of the monster, the curse, like the curse of being thought a virgin in the teen world, is to have sex with someone. Not only do you have to have sex with someone, but now that person has to have sex someone else or “the curse” comes back to you. This is a monster of spreading sexuality without any of the pleasure. It’s not about enjoying it, it’s about getting it over with.

The soundtrack and production design were both winners. The score was composed by Rich Vreeland, better known as Disasterpeace. I love the electronic score that has been playing in Adam Wingard’s movies and now Mitchell’s. It’s very cool and effective and pairs nicely with digital imagery. Electronic music, digital imagery, it’s a match!

In “It Follows”, technology is never rooted in any specific place or time. The TV sets are the old box kind with rabbit ears. There are landline telephones. The cars in the suburbs of Motor City are all outdated. Yet, one of the characters resembles a modern day hipster and is seen regularly reading from a seashell shaped, makeup compact-like e-reader that is not of this world, or maybe futuristic. The effect is that this movie is not a throwback to the 1970s/1980s anymore than it is a modern storyline. It is timeless. It is iconic.

Mitchell on production design in Filmmaker Magazine: “Those were all used to place the film a little bit outside of time, like in a dream or a nightmare, but there are elements from several decades, from the ’50s to now to things that don’t actually exist. When you watch it, you start to pick up on these elements, and it’s a little disconcerting, and in the back of your mind, you’re searching for something to ground you and tell you where you’re at. We were trying to avoid all that. I worked really closely with the production designer, and he did a great job of mixing and matching all these pieces. It leans in the direction of the ’70s and ’80s, but it’s a nice mix.”

IT FOLLOWS-Jay Pool

Mitchell is an exciting filmmaker because he seems to be going against an idea I’ve been thinking a lot about lately. It’s an idea implanted in my brain by a comment Bret Easton Ellis made on one of his opinionated podcasts. He states that younger filmmakers haven’t lived life enough to make original art. To paraphrase, Ellis says younger artists choose their decisions in their movies based not on what they know about life, but rather what they’ve already seen in movies.

I’m still debating how I feel about this comment but it did get me thinking about movies that I like very much, particularly Wingard’s “You’re Next”. Going further, Wingard’s latest movie “The Guest” is an even bigger throwback to older horror movies, a blend between John Carpenter’s “Halloween” and “The Bourne Identity”. You can throw Ti West’s “House of the Devil” in this mix as well, as the only thing I liked about that movie was its 1980s look and pace.

Ellis got me thinking is nostalgia for old movies I like a reason to like new movies? I’m sure in some ways the answer is yes. But it doesn’t quell the question of where will our new horror movie come from if we spend all our time referencing older horror movies? Then again, this has worked for Quentin Tarantino.

I think Mitchell’s “It Follows” is as close as any to an original horror picture. Although I think his movie is very similar to Wingard’s style (Maika Monroe, electronic soundtrack, 1980s aesthetic), at the heart of “It Follows” is something very personal to the director. And not personal the way I think things are for Wingard, which, for kids who grew up loving movies, references to movies we love are very personal.

But Mitchell taps into something deeper than love for movies, he taps into his feelings.

He taps into his own dreams: “I had it when I was very young, the nightmare. I had it several times and I still remember images from it. I didn’t use those images for the film, but the basic idea and the feeling I used. From what I understand, it’s an anxiety dream. Whatever I was going through at that time, my parents divorced when I was around that age, so I imagine it was something to do with that.”

Mitchell isn’t drawing his horror elements from things he has seen in movies, (although he does know horror movies), he draws them from his own life.

The point here is that if you want to make something new and exciting, something nobody has seen before, something, I believe, like “It Follows”, then you have to break away from pastiche and get back to the roots of art, which is to express whatever you inherently know to be true, the way you know it, and the way you feel it. The way we feel Mitchell’s anxiety in “It Follows”.