Synopsis
Two children wake up in the middle of the night to find their father is missing, and all the windows and doors in their home have vanished.
2022 Directed by Kyle Edward Ball
Two children wake up in the middle of the night to find their father is missing, and all the windows and doors in their home have vanished.
Horror, the undead and monster classics Intense violence and sexual transgression Monsters, aliens, sci-fi and the apocalypse scary, horror, creepy, supernatural or frighten horror, creepy, eerie, blood or gothic horror, gory, scary, killing or slasher horror, creepy, frighten, eerie or chilling zombies, undead, horror, gory or flesh Show All…
You _really_ need to be immersed for this movie to work, like you gotta watch it alone without lights. Not even as like a 'challenge', but just because the movie is so slow and the shots are so ambiguous it's very easy to lose your attention. If you watch it with friends, you guys are just gonna be talking the whole time like "OH whats that? is that a face? wait what room is this? have we seen this corner before. OH is that the dad? Did the legos move?" etc. My immersion wasn't great for this movie because I was eating a really yummy bowl of chili, honestly it was REALLY good chili I really knocked it out of…
I really appreciate the swing here, it's gorgeous and the vibes are just terrific. But it's fucking boring, I'm so sorry. At an hour-forty I was just begging for it to do something, anything. Absolutely and admirably not like anything you're likely to find in a multiplex ever again, but I'd argue there's a really good reason for that.
Reduced me to a child, hand over my mouth, tears in my eyes, a pit in my stomach. Surreal and familiar in the same stroke, liminal horror existing at the crossroads of comfortable, mundane surroundings and everything we can imagine might be in the darkness on the other side. It leaves you anticipating the revelation, begging to see something that might reduce the horror with its tangibility, but when it finally begins to reveal itself you can only shrink and cower and plead with it to stop.
Imagine if someone made an entire movie out of the last shot of “The Blair Witch Project.” Or a creepypasta remake of “Home Alone” steeped in the ineffable fear a young child would feel if the rest of their family abandoned them in the middle of the night. Or a slow cinema version of “Paranormal Activity” that ditched jump-scares for pervasive dread, maintaining the disembodied camerawork of a found footage film while inverting the formula to show a domestic possession from the house’s POV.
A micro-budget phenomenon that leveraged a fortuitous leak into the kind of buzz that an indie film can’t buy, Kyle Edward Ball’s deeply unnerving “Skinamarink” might be too indebted to YouTube horror trends to feel like…
I think this movie only works if you like 100% buy into it, I left the theater crying and the people behind me were cracking up saying it was just like a YouTube poop. I think this effected me so much because it hit some very specific emotions that I’ve never seen in film before, so if you’re the type of person who has ever laid awake for hours in bed because for no reason at all you have convinced yourself that if you fall asleep you’re going to die, then this movie will probably be scary. Also if I hadn’t watched this in a theater I would have completely just turned it off so I really think that helped. Also I’ve decided I hate being scared
Unique movie. Didn't like it for pretty unique reasons? However: 3/4 packed AMC theater on a Saturday night in the middle of an atmospheric river? Complete with a few straight-up walk-outs and a collective "what the fuck" laugh after the end title card? Movies are fucking back.