Sterling K. Brown and Lucas Hedges co-star in the third feature by 'It Comes at Night' director Trey Edward Shults, a drama exploring the lead-up to and aftermath of trauma for a Florida family.
a "teen drama," but that generic label doesn't begin to convey the emotional scope of this tender, bruising, exuberant film. With his third feature, writer-director Trey Edward Shults continues his inventive deep dive into the dynamics of family, an exploration that began with 2015's sock-to-the-solar-plexus character study Like its predecessors, is a movie that takes rewarding chances.
He's also a bold visual stylist, and in collaboration with his regular DP, Drew Daniels, creates an immersive, sensuous vocabulary from the movie's South Florida setting. Deepening the film's distinctly expressive language is the inventive nuance of the score by master conjurors Trent Reznor and Atticus Ross.
Complicating the father-son rivalry, Tyler's dad is his take-no-prisoners wrestling trainer. When they arm-wrestle in the middle of a restaurant during a post-church family lunch, there's nothing playful about it. On some level Ronald is also competing with his physician wife, Catherine . She dishes out the parental tough love as much as he does, but always with an eye toward smoothing things over.
In more obvious ways, the sweet-faced Emily , too, is alone. During most of the film's first hour she's a standard, mildly resentful younger sister, and her role in the drama is minimal. But when she crosses a nighttime hallway to tend to her wasted, retching brother, a spark ignites — a bright, sharp picture of who she is, sowing the seeds for a breathtaking flowering in the second half of the film.
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