Lights Out

As a small-scale film, this movie is quite fine. What’s also fine however is how the director took the original idea, which had been made into a short film, and managed to turn it into a feature film. It’s nothing complicated, but it works. It’s not silly at all. People behave the way real people do rather than behaving like rubber figurines on paper. So, all in all? A pleasant horror movie surprise – it won’t offend you and while it won’t make you excited either, it gets the mission fulfilled with a full number of survivors. (12/15/2017)

It seems that simplicity holds power, and that's why the creators of the film chose to take the straightforward path. The story about something lurking in the darkness, whether seen or unseen in the first scene, is harsh, eerie, and unsettling. Yes, it truly seems deceptively simple at first glance, but the creators managed to frighten the audience, and I commend them for that. (01/26/2017)

It’s a shame that this movie follows the genre template too closely, working with overused clichés, and has the runtime of a Leslie Nielsen comedy. And it’s too bad that the characters are underdeveloped. The monster Diane has much greater potential, as she is scarier than anything from James Wan’s masterpieces. The scenes with her escalate from continuous goose bumps to a very intense climax. (08/09/2016)

I can’t ask more from mainstream horror. A very simple plot that doesn’t waste much time and goes straight to what matters, scaring. The idea originally used in Sandberg’s short is varied again and again, and it still works. The ghost or monster is hidden in the dark for most of the time, but even when you can see more of it by the end, it doesn’t lose much of its horror. The “friend’s” ghost backstory that I dreaded in the trailer is delivered elegantly and it actually sounds a little disturbing. But what sets this film above its mainstream competition are the characters and their relationships. Everyone is nice or at least you can understand their behaviour. But, most importantly, they aren’t one-dimensional figures devoid of personality and, already from the beginning, the film works with relationships that are not totally banal. I won’t say that it delivers some nuanced psychological picture, but it still goes a lot further than the overrated Conjuring. Although Lights Out is basically an intimate horror movie, for me it’s better than Wan’s bigger works. The characters are under a real threat. Technically it is comparable to the premier league. It’s unlikely to be the best of the year (that one already appears regularly in indie waters), but it’s certainly the best mainstream horror flick in recent years. I will gladly watch it again. 9/10 (07/21/2016)

You can't shine a light. We’ve probably never had a similarly intense and original scare in cinemas, and in today's horror competition, it's hard to imagine a more effective way to make the audience's return home through darkened streets as unpleasant as possible. It goes full speed ahead from the start and, without any unnecessary talk, we are served an intelligent horror plot spiced up with such a thick atmosphere and such a scary monster that I would grunt with joy if I didn't have my vocal cords clenched with nervousness. Plus the flawless escalation, thanks to which the evil doesn't stop scaring even towards the end, the reasonable runtime and of course the absolutely disarming beauty of Terasa Palmer, thanks to whom I didn't breathe even in the less tense scenes. Pointless to complain and whine, that's all we can ask for. (07/25/2016)