‘Prey at Night’ Doesn’t Try To Be ‘The Strangers’ and That’s Why It Works

The Big Picture The Strangers franchise seems to like bringing in directors who have made successful shark movies. Before he directed the new trilogy, Renny Harlin did the 1999 aquatic sci-fi/horror Deep Blue Sea and Johannes Roberts helmed the cage dive gone wrong, 47 Meters Down . Both directors know how to deliver popcorn thrills, but of the two, Roberts is the one who gives a unique entry into the Strangers franchise.

Prey at Night had to bring viewers back into the world of the Strangers after 10 years, and it does this by going bigger. A change to the location is done better here than in Chapter 1. The environment has been expanded from a one-house setting to a mobile home community without any tenants, making it just as isolated. Chapter 1 tried to do both; expanding the location and restricting it.

The music that is suddenly no longer safe to hear represents the Strangers as a violent interruption in the lives of the people they attack. In Prey at Night, Kim Wilde’s “Kids in America” begins the film, infusing it instantly with a twisted sense of humor for the Strangers who drive their Ford truck into Gatlin Lake to stir up some chaos, as if they are a pack of wild “kids” looking for fun. It humanizes them without overdoing it: they love ‘80s music just like everyone else.

The vehicle is not supernatural like in Carpenter’s adaptation of Stephen King’s novel, but it gets close to that. Smashing through a mobile home is nothing compared to what happens in the finale. Kinsey lights the Man in the Mask's truck on fire, with him inside, but that isn’t enough, and it’s no mistake that he's so hard to kill. Slashers are tough to kill, after all.

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