Tick tick, tick tick, tick tick. That’s the sound of impending doom creeping ever closer, an omnipresent part of Christopher Nolan’s latest epic, Dunkirk. It could be called ‘Stress: The Film’ for the way it captures the anxiety and desperation of the troops stuck on the beach – with death lurking just out of sight.
There’s a term I’ve heard bandied about for films like It Comes At Night. Post-horror, I think it’s called. If so, I feel it’s an apt way to describe the A24 production, which is directed by Trey Edward Shults and features Joel Edgerton as the only real recognisable lead. Continue reading “It Comes At Night”