Inspired by “real events” The Strangers, unlike many of its genre, is the kind horror film that relies more on suspense and timing, as opposed to mere shock value. In this sense it might more aptly be called a suspense-horror film, more in the vein of say Hitchcock than Craven. While I certainly do not mean to compare this film to any Hitchcock horror film, The Strangers does at times feel like a throw back kind of movie.
The story begins with a young couple’s sad return from a party. We quickly learn that Kristen, played by Liv Tyler has refused James’ (Scot
Speedman) marriage proposal. James has adorned the secluded vacation home with candles, roses, champagne etc. What was meant to be a romantic time turns into an evening (90 min for us) of frightening, mind bending, head wrenching terror. The couple is terrorized by three white- masked intruders, one male and two females. I have to say, the mask worn by the male assailant is perhaps the most subtly frightening scary mask I’
ve seen since Jason.
Without a basic plot, or motivation for the ongoing terror, this film relies more on moments of gripping horror which at times will enthrall the audience. I often found myself cringing to my chair, imploring the actors to do this… and do that. If a horror/suspense film can get you to engage in this way with the players on screen, then for all intent and purposes it has done an adequate job.
I’
ve read a few reviews that say this film uses silence to its advantage. Here I must disagree somewhat. It is not silence, but the absence of dialogue; the film absorbs its audience with its usage of sound effects and imagery. In this way the story gets told not through dialogue or inner monologue but through visual and auditory methods. Again, this relies more on a classic kind of story telling; what we anticipate happening is what grips us. This is at times in stark contrast with recent horror films that rely more on gore and shock value to entice. No chopped off limbs here, no gooey blobs of skin to clean up-- just good old fashioned suspense and horror.
Some may view The Strangers as a slow film that goes nowhere. Pending on your taste this may or may not be true. (Possible Spoiler ahead)
There does not appear to be a rhyme or reason for the terror the three assailants imbue on their victims. If it was just murder they are after they could do this all at once. Instead, they seem to want to stretch out the agony, leaving notes to their victims on windows, as well as often disappearing when the two seem most vulnerable. To the question, “why are you doing this,” the only answer offered is a creepy, “Because you were home.” If you are so inclined this may open up a
philosophical discussion of a post-structural bent. There is no underlying meaning or purpose. The actions
perpetrated upon the victims occurs simply because they happen to be there. Any other meaning inscribed upon the events is that which you as an audience member decides.
Paraphrasing the French Deconstructionist Jacques Derrida here : there is nothing beyond the text. In The Strangers, there is simply no real context, no readily
discernible meaning with which we can attach ourselves. At the level of one seeking entertainment, this can either annoy or please, pending on taste.
While I was vividly engaged for the bulk of the film, towards the end I felt myself thinking,
ok, enough is enough. There are only so many scare-able moments you can have—get to the point. For the most part though this was an enjoyable movie. If you are looking to be scared, this movie will get the job done, providing of course you have no problem dealing with the fact that there is neither a real plot nor a reason for the terror that ensues for nearly 90 minutes.
VEDRDICT- HUNG JURY (either you'll be scared out of your wits, vowing never to spend a night in the country again...or you'll be terribly annoyed with the lack of plot and reason)
