I take a look at the much-hyped “It Follows” for Through The Shattered Lens website.
A funny thing happened on the way to writer/director David Robert Mitchell’s 2014-lensed indie horror It Follows finding its way into the VOD dump-off land most contemporary scare flicks have reluctantly learned to call home : it got noticed. In fact, it got noticed a lot, and evidently by at least some of the right people, because on the basis on positive “buzz” alone, the aforementioned relegation to so-called “home viewing platforms” was quickly scuttled in favor of a limited theatrical release — which just as quickly became a wide theatrical release — which finally ended with this being one of the most-talked- about “supernatural thrillers” in years.
What I can’t figure out is, I’m sorry to say, is why.
Don’t get me wrong — It Follows certainly isn’t bad by any stretch of the imagination, and I’m naturally disposed towards rooting for any sort of original horror…
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IT FOLLOWS merely is just a “Sex Is A Horror” themed celluloid mash-up of John Carpenter’s filmmaking style and David Cronenberg horror elements that are blended with both Japanese and Korean horror elements,for the Weinstein Brothers were lucky that their decision to give this film a nationwide theatrical release pretty much saved them and their company(which was mainly giving their genre films[of the last few years] nothing but scanty theatrical plays and Straight-To-VOD/DVD/Blu Ray releases).
Yup, excellent summation right there.