Skip to main content

Let Us Prey

Spoilers, typos, and bad grammar ahead. You've been warned.

Tonight's tale of Good and Evil comes to you from the UK. The difficulty with this type of story is that there are really only a couple of ways that they can end: either Good wins, Evil wins, or it's a "draw" and you know that the fight will be revisited another time (in the sequel, of course.)

There's an even greater challenge faced by any filmmaker these days: creating a compelling story that isn't just a "rip off" or retelling of a story that has already been told. There's this really fine line that exists between being inspired by previous works and not being creative enough to write something unique. I was surprised to find that - for me - Let Us Prey stayed comfortably on the side of inspired by.

Here's how it plays out:
Two strangers come to a remote island town. One is a rookie cop (played by Pollyanna McIntosh), the other is an imposing man of few words (played by Liam Cunningham). It soon comes to light that this island has an abnormally high percentage of "evil" people. (Sinners, if you will.) Soon, all sins are revealed and the guilty are punished. People are killed, souls are taken, and our rookie cop finds out that she's some sort of "chosen one."

You may feel like you've heard this plot before, in the 90's, with Jada Pinkett Smith and Billy Zane - and I'll tell you what, you have. And while I love Demon Knight to pieces, the place that it always fell down for me is that Evil is positioned as "bad" and that in the end, Jeryline (Smith) embraces the light and moves on to hunt more demons. I always felt that Billy Zane was simply too charming and fun to turn down and that "hunting demons" seemed kind of like boring, thankless work. Perhaps that's a comment on my character (or perhaps a on my "type.")

One place that Let Us Prey really worked for me: our "chosen one" says "yes" to Satan and (presumably) enjoys an eternity of revenge for the abuses she suffered as a child. And really - who can resist a man who tells you you're special, that he'll give you everything you ever truly wanted, and that "Hell is a cold place" without you? (Swoon.) My dear blogging friend over at I Watched It On Purpose said to me, "That had the best ending ever... I declared it romantic." What can I say? We're a rare breed, she and I.

There is also a tone - in part visually but primarily thematically - that really resonates with 30 Days of Night; the isolation and resulting madness, a stranger that comes to town predicting doom and devastation, and one lone hero who will make drastic choices.

I think the greater similarity between these two movies is the gore factor: the CGI was utter low-budget crap, BUT the gore was top notch. Gruesome beatings, hit and runs, nails broken off, mutilations, and so on - it's all there. I think these movies stick with us because the application of violence is so very visually striking.

For my feminist readers out there (as if I actually have any of those!) - I think you'll be pleased with our leading lady - who takes no shit, fights for her survival, and wins in the end. (File her under "Final Girl" and let's call it a day.)

I was also incredibly impressed by the score that sounded so much like John Carpenter wrote it, I had to immediately check out who was responsible for it. (It's Steve Lynch - by the way.)

So that's it: Good story, fantastic acting, great effects, and a score I thought about buying. This one, I'm happy to say, is a win.


You can read a few other reviews here:
Fangoria Magazine's review by Ken W. Hanley.
The Irish Times's review by Tara Brady.

You can watch the trailer here:


You can buy a copy here:

Comments

Popular posts from this blog

The Witch (2015)

You know the drill - there's ALWAYS spoilers. Don't want the movie ruined for you, come back after you've seen it. Also - I'm still without an editor - typos and bad grammar await you! I keep hoping that the cultural obsession with zombies will end; literally every other damn movie that comes 'round seems to feature some sort of shambling, undead being bent on devouring the weak flesh of regular humans. Once upon a time, zombies have have been used as a metaphor for the blind consumerism created by our capitalist society, or the perceived depletion of resources by immigrants, or even the ravages of time and disease on our frail bodies. Now it seems that the deeper social commentary has been lost as audiences mindlessly consume "zombie fiction" in an attempt to keep up with trends. ( How very meta - a film buddy of mine commented on this assessment! ) All of this is just a sideways rant, leading up to my actual point: it seems that zombie may actually...

Mother!

Alright friends and readers–this one is probably doubly filled with typos and grammar errors because I wrote it while angry. Good luck and happy reading. There are unpopular opinions in every realm. As a film student, you can truly strike a nerve when you say things like, "I fucking hate the self-indulgence of independent films and the way people idolize them." Or, you know, "Low lighting and slow pacing does not a good movie make." Or whatever. You can of course, objectively, understand how this happens. When you are creating art–when you are outside the system  so to speak–you are free to explore things (subjects, techniques, etc.) that may need to be addressed and that freedom can become intoxicating and go to one's head. While it may seem only right  or only fair  to respect and accept each creative endeavor that every artist undertakes, it is unreasonable to believe that the world will remain forever patient with the self-obsession artists have. Th...

The Babadook

Spoilers and typos! Enjoy. We often look back nostalgically on childhood, envious of the joy we felt and the boundless imaginations we possessed. How conveniently we forget the other side of that coin: as children, we experience a depth of terror our adult selves continually try to recreate for cathartic entertainment. When we try to bring those childhood fears to life on the screen, we often end up with movies about "things that go bump in the night," which is a somewhat superficial approach. While it does provide an opportunity for a supernatural experience, it ignores the root of our fear: the unknown . As children, we lack life experience. We lack nuance. We lack understanding. Not knowing creates in us fear. Yes, we fear what lurks in the darkness but we also fear the adult world because we do not understand how it works. The Babadook works to exploit both  those fears. The short story: a widowed mother of a young boy experiences a mental breakdown and tries to...