Practised genre screenwriter Eric Heisserer slips in a couple of witty touches, and a surfeit of unwise splitting up and badly wired lights. An already green-lit, Aliens-style sequel is promised, presumably with dozens of the critters, and mental health low on the agenda. Sandberg’s contention that his shadow monster represents Sophie’s clinical depression isn’t achieved – and if Diana is the black dog, the ending gives a bleak solution. None strike out for new genre territory, as poetic outliers such as It Follows and The Witch have. His film joins a prolific production line of slick, sometimes highly creepy, extremely profitable horror franchises (such as Wan’s Insidious). Sandberg had experienced Hollywood horror producers including James Wan (director of Saw from his own low-budget prototype) to help, as he set foot on a set for the first time. “Mom? How about just you and me tonight?” Martin asks as they settle down to watch a film. Diana is now a malevolent ghost, in a house kept curtained and crepuscular for her. When Rebecca reluctantly returns to the home of her estranged, mentally ill mother, Sophie (Maria Bello), to see what’s ailing her little brother Martin (Gabriel Bateman, pictured below), she soon discovers that Sophie has become inseparably devoted to Diana, a manipulative friend from mental hospital days, whose issues with light sensitivity came to a sticky end.
Rebecca’s stepfather was, unbeknownst to her, an early victim of the shadow-monster, Diana. It’s a horror film that’s too nice to horrify.
But Lights Out relaxes its grip so much, the dark actually stops being scary. I kept the brace position ready for about an hour after that. The full-scale expansion of Lights Out he made there has a similarly effective moment, when its young heroine Rebecca (Teresa Palmer) awakes to the sound of long nails dragging along her bedroom floor, where a shadowy, long-haired figure hunches.
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