It Comes at Night


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It Comes at Night
Release Date:
9th June 2017
91 min
MPAA Rating:
Trey Edward Shults
Trey Edward Shults
Stream Quality:
1080p / 720p / 480p


Secure within a desolate home as an unnatural threat terrorizes the world, the tenuous domestic order he has established with his wife and son is put to the ultimate test with the arrival of a desperate young family seeking refuge. Despite the best intentions of both families, paranoia and mistrust boil over as the horrors outside creep ever-closer, awakening something hidden and monstrous within him as he learns that the protection of his family comes at the cost of his soul.


Rotten Tomatoes Critics - Certified Fresh 87%
Rotten Tomatoes Audience 44%
IMDb Rating 7.2

Movie Reviews

Reviewed by JohnnyBreeco 14th June, 2017

Not a horror at all... but a VERY REALISTIC and EXTREMELY WELL CRAFTED post apocalyptic film

The first thing worth mentioning about this film is that it is not a horror film at all. The film was completely mismarketed as another run of the mill horror film on purpose. This did two things. It secured the film a nation wide theater release which it surely wouldn't have gotten otherwise, and it baited in a larger, more casual audience that was expecting the exact opposite of what it was. Basically, going to see this movie is like ordering a greasy double decker burger with fries and a soft drink... but instead you get an exquisite entree of fresh garden vegetables prepared by a three star Michelin chef. Very few of these people will have the palate or taste for it, in fact most of them will be upset. This film is probably the most realistic post apocalyptic story I have ever come across. Anyone who knows the frequency and probabilities of solar flairs and what they would do to our civilization has probably played out scenarios in their head that are almost identical to the plot of this movie. It is this highest degree of realism in the unfolding of the plot and what happens between the characters that makes this film so engaging and captivating. As a work of craft, the film is a remarkable. It is so beautifully shot and the acting never drops below A+ quality for a single moment. This is in the top class of all the movies I have seen, and is one of the best post apocalyptic ever made in my personal opinion.

Reviewed by roblesar99 11th June, 2017

Engrossing, Haunting, and Stunning

"Do you have any idea what's going on out there?" Early on in director Trey Edward Shults' It Comes at Night, Joel Edgerton's Paul asks Christopher Abbott's Will this question. All Will can do is shake his head. For the majority of the film, the audience is left in the dark as well, with Shults refusing to provide easy answers and instead forcing the audience to grapple with the world and moral dilemmas that he introduces. Set in a near-future where a virulent disease has ravaged the country, Shults' film focuses on two families struggling to survive in the wilderness as paranoia runs amok. It Comes at Night has mistakenly been marketed as a horror film. Make no mistake, while the film certainly produces some effective moments of dread and terror, it plays more like a marriage between a psychological thriller and a family drama. Guessing from the initial reactions from the audience in my theater, I have a feeling that the film will play like last year's The VVitch. Not only did audience members walk out halfway through, but as the credits began to roll, I could hear some of them saying "What the f**k?" and "That was underwhelming." While audience members might have been expecting a film more akin to say, The Conjuring, as a result of the film's admittedly stellar trailer, Shults forgoes conventional jump scares and instead successfully mixes bone-chilling tension with a disquieting atmosphere. Continuing with the comparisons to director Robert Eggers' The VVitch, which was coincidentally also by A24, I found that I preferred Shults' work. While both are armed with lavish cinematography and fantastic performances all around, something about The VVitch did not click with me upon viewing. I found it to be a film that I admired more than I enjoyed in large part due to its achievements in the technical departments. Perhaps it is Brian McOmber's score that makes the difference, which truly shines in Shults' film. Eerily effective, McOmber's score works perfectly in tandem with Drew Daniels' gorgeous photography to create an unsettling feeling throughout the course of the film. However, the reason the film works rests solely on the shoulders of the performers, who sink themselves entirely into their roles. Joel Edgerton is the standout here, continuing to impress with every film of his that I watch. Edgerton adeptly portrays Paul, a father whose only goal is to ensure the survival of his family. The way in which he pursues that goal, however, is what lends Paul depth, allowing for riveting observation into the way in which he handles the increasingly tougher circumstances around him. As the film goes on, Edgerton brilliantly communicates the fear and paranoia required of him. Kelvin Harrison Jr. portrays his son Travis, and I was equally impressed by his performance. Despite Edgerton receiving top billing, the soul of the story lies with Travis. By allowing us to see his dreams and capturing his moments alone in the attic, Shults imbues Travis with a melancholic spark of humanity, as he wrestles with being a teenager in a world gone wrong. Additionally, the moral dilemmas that the film explores always keep Travis in mind, using him as the balance between the two families. While Carmen Ejogo delivers a great performance as Paul's wife Sarah, Shults' screenplay falls a tad short when it comes to her characterization. While Paul and Travis both feel more realized as individuals, Sarah feels more one-dimensional, which stands in contrast to Riley Keough's Kim. Keough herself, who I first saw in Mad Max: Fury Road continues to impress and she does so again here. Lastly, Christopher Abbott does a stellar job as Kim's husband Will. An early interrogation sequence that features him as the one answering the questions left me shaken, in large part to his performance. Much like Edgerton's Paul, Will's only goal is to ensure the survival of his family, but Shults expertly manages to create tension arising from the irreconcilable differences between the two families. Many have complained about the film's seemingly abrupt ending, but I believe that Shults ends it just as he should. The final shot is silent, yet haunting, as the framing communicates more than any dialogue could. Shults does not deal in black and white, only in gray. There are no heroes and villains, only regular people struggling to survive amid an unspecified event that has brought humanity to its knees. Straightforward in its storytelling, free from unnecessary twists and turns, the film nonetheless manages to get under the skin. If you have not seen the trailer for Shults' film, but wish to see the film, then do not watch the trailer. However gripping the trailer might be, I am glad that I did not watch it before having seen the film. Go into it fresh, and you will be rewarded with one of the most thrilling films of 2017. Rating: 9/10 (Amazing)

Reviewed by Conrad Johnson 10th June, 2017

Immersive, ambiguous but f88king AWESOME!

I just came from seeing this film which I've been following for some time now. I must say, after seeing Mr. Shults first film Krisha, which was really well crafted. I already knew I would love the tone of this movie. The film jumps right into the belly of serious, right from the first frame. The writing, acting, and overall world is extremely gravitational. You can tell this is a director/writer that spend his time in his head and with his characters. There's a strong sense of family before anything cast throughout the film. Although, what has happened to the rest of the world is largely hidden. Which I love, but may be too ambiguous for certain viewers. However, I love the fact of this is where we are, and this is what we have to do to get through it, no matter the cost. Joel Edgerton is amazing in this role, I'm not sure I saw this much genuine no play factor since his film the gift. Also, newcomer Kelvin Harrison Jr really finds his pace as the movie unravels. Although, Carmen Ejogo also pulls off a terrific performance. I found her to be just there in certain areas. But, not so much that I can't say she doesn't help push forth the story. The cinematography of Drew Daniels is beautiful and marries well with the creepy undertones of music by Brian McOmber. Overall this is a film I would watch again as I was immersed in it from beginning to end. This is a true mystery thriller! And I hope you guy find my review helpful. As you can see I didn't dive too deep, because I didn't want to give away any spoilers and felt it's great to just give it a chance and a cold watch. I rated it an 8 because nothing is completely perfect :)

Reviewed by benson-rudnick 10th June, 2017

This Is Real Horror

**Spoiler-Free The Critics were right. This movie is great. This isn't your fake horror movie, with jump scares, where you're getting scared at noise, not something actually frightening on the screen. The acting is exceptional, same as the directing and cinematography. This movie is really about what people will do to protect their family, and the paranoia you would have of people if an event like this really occurred. The horror for the most part is the fear and the paranoia. So, please don't go in expecting a jump-scare fest or your typical horror movie. This is thriller that deals with paranoia, fear and grief. Please go into this movie with an open mind.

Reviewed by 28th May, 2017

The great paranoia horror

"It Comes At Night" is an incredibly chilling hitchcockian paranoia horror that creeps up on you. Filmmaker Trey Edward Schults whose feature directorial experience prior to this was only "Krisha," brilliantly follows the regular rules that come with crafting an effective character-based psychological thriller while at the same throwing curve balls every now and then, so that at the end, the threat from within becomes even scarier than the outside threat. Starring Joel Edgerton, Christopher Abbott, Carmen Ejogo and Riley Keough, the story is about a family (husband, wife, and teenage son) who's closed themselves off from the terrors of the world where a certain disease has infected the general population. But their reclusive existence gets put to the test with the arrival of a desperate young family seeking refuge. What starts out as a harmonious agreement turns into suspicion and distrust which then leads to protecting your own family at all cost. I think Trey Edward Schults does an excellent job of building the tension, slowly but surely, because halfway trough he kinda flips things over from the concept of us against the world out there into us against each other. So it's written in such a way that from the start is already giving the audiences warning signs to be alert even when the characters seem to have their guard down. It's character-driven, it's performance-driven, and thanks to the unsettling cinematography and how it plays in the dark, you're on your toes the entire time. In a lot of ways, it reminds you of '70s paranoia thrillers but it's also the kind of suspenseful film that M. Night Shyamalan probably only wishes he could make. Fear is a great motivator that can drive you into committing unspeakable acts, that's pretty much what Trey Edward Schults is going for with "It Comes At Night." -- Rama's Screen --