It Follows is a refreshing and engrossing new entry into the modern horror genre, centering around scenes that patiently built up dread as opposed to going for easy, knee-jerk scares. It has an intentional and almost disorienting throwback sensibility to it, recalling the chills of genre classics like Jaws and Halloween while still blazing a unique stylistic path of its own. Frankly, I wouldn’t classify it as an especially “scary” movie in the traditional sense, but rather a supremely creepy film that takes a relatively simple conceit and wrings it dry for maximum suspense.
The story centers around a young girl named Jay (Maika Monroe, who also starred in last year’s The Guest) and a curse that she contracts after having sex with the mysterious new guy in town (Jake Weary). After their encounter, he explains that she will now be stalked on foot relentlessly by a shape-shifting entity that is only visible to her until she “passes it on” to her next sexual partner. With the help of her friends, including her long time childhood crush Paul (Keir Gilchrist), Jay must find a way to counter the unstoppable force as it pursues her at walking speed with a zombie-like level of persistence.
David Robert Mitchell, who previously wrote and directed the sweetly nostalgic Myth of the American Sleepover, recontextualizes his earlier film’s themes of sexual anxiety and adolescent metamorphosis within the framework of a chilling campfire tale. Once again, he proves that he has a knack for writing believable dialogue for teenagers and also displays an uncommon level of empathy for his characters, which is crucial for any horror movie to be a true success. These kids are thankfully much smarter than they’re typically allowed to be in movies like this, which allows us to root for them instead of shouting at them on the screen.
Mitchell, along with cinematographer Mike Gioulakis, also inject It Follows with visual flare that is subtle but incredibly effective. The camerawork often mirrors the patient efforts of the film’s antagonist, using slow and measured movements to sneak up on characters or draw our attention to apparitions that may or may not be lurking in the distance. I was particularly fond of a scene where the gang goes to a high school and instead of the following them each step, the camera stops at a center point and slowly rotates fully around multiple times to give us brief glimpses of the entity (or is it?) in the background.
Another huge asset to the film’s success is the memorable score by Rich Vreeland, which nicely amplifies the tension with its jolting synthesizer stabs that favorably recall Bernard Herrmann’s work on Psycho. Somehow, this movie is even able to include passages from T.S. Eliot and Dostoyevsky in a way that’s not nearly as pretentious as it could have been. Bold choices and details like these make It Follows one of the most richly inspired and downright fun horror movies that’s come out it quite a while.