It is not often that a horror film debuts at prestigious festivals such as Cannes and Toronto

It is not often that a horror film debuts at prestigious festivals such as Cannes and Toronto before appearing in mainstream cinemas. Fortunately, it follows from director David Robert Mitchell therefore anything but a typical horror movie. Innovation within the genre will be increasingly on the second plan, but it follows shows the most entrenched trends of recent years conspicuously ignore. Do not expect creaky old haunted, possessed children or indefinitely copied 'found footage' insertion. Instead Mitchell delivers original retro horror off, which feels pleasantly timeless in the eighties, despite a large tribute.

For the optimal experience you ?? as is often the case ?? It follows for the first time is best viewed with as little as possible prior knowledge. It is impossible to mention something about giving the creative premise of the plot without a few details away. For those who so much as uninhibited as possible wants to get into the film, it is recommended to stop reading and move on to the next paragraph. In one of the first scenes of the movie gets to meet an unpleasant turn of events between two teenagers. After performing the act of love, the young teenager Jay appears to have taken an oath of Hugh bed partner. From that moment on Jay followed everywhere by a mysterious evil entity. Although this is not too fast and always ending on her in a straight line, it may take any form and he never gives up. Hugh advises the curse as soon as possible to pass and then quickly take the legs.

This inventive approach David Robert Mitchell plays nice way with urban legends and sexuality. Where sex ?? as already demonstrated by Wes Craven Scream in the nineties ?? normally a recurring element within the classic tienerhorrror, Mitchell takes the convention just in fun mode on the heel, by the fact that the teenagers it follows precisely can increase their chances of survival by someone diving into bed. Outside the original plot Mitchell also go creative with creating a film world. The dilapidated suburbs of Detroit are in a kind of timeless universe where modern technology combines with black and white television and synthesizer music, and the decor exudes a nostalgic retro atmosphere.

The only downside to it follows that it is partly due to the somewhat predictable nature of the antagonist may not be the most terrifying horror film of all time will go into the books. Fortunately able to compensate for the film just fine here with well-developed characters and a strong atmosphere. Stylistically Mitchell is also clearly indebted to the early eighties, in particular the fantastic musical arrangement full of menacing synths do immediately think of John Carpenter's work. In contrast to the majority of today it follows horror movies must therefore have not so much of an easy fright moments. Instead, the film often has to be an effective camera liner and the impressive soundtrack enough to create tension. As if that were not enough, Mitchell ensures that you will look after the movie yet again another time with a paranoid feeling over your shoulder before leaving the room.