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Fight Club’s negative space illustrates the encroaching presence of Tyler Durden in background ‘blips’ until he finally emerges to wreak havoc. The sky darkens around a desperate Michael Shannon as a storm gathers in Jeff Nichols’ 2011 masterpiece Take Shelter. We can feel the hopelessness of a man lost in the desert as the horizon stretches on forever in front of him. We might see two people sitting opposite each other in a diner having a tense conversation while other patrons mill around in the background, unaware that a shoot-out is about to take place. Understandably, the threat of properly showing them to us is much more effective than actually seeing them – our minds can start to pass these images off as actors in make-up and masks, and the deftly-constructed atmosphere disintegrates swiftly.ĭerrickson, currently in the big leagues polishing off Marvel’s Doctor Strange, likely feels fine with it – but it’s a shame that the third act of Sinisterwasn’t quite as inventive at the risk of frustrating some viewers, because his use of negative space during the first two-thirds of the film is quite exceptional.Īdmittedly, negative space can also be used well in various other genres. We feel that the awful demonic face will appear in the negative space of Sinister, just as it does in the films within the film – it’s only a matter of time.ĭuring the third act, Derrickson falls back on genre convention and starts to show us the ghosts of the dead children and the demon, Bughuul, as an active and visible presence. In the first two acts, our eyes repeatedly flick to the darkness behind him as his face reacts to the terrible violence he is witnessing. The scenes where Ellison watches the Super 8 footage are fraught with dread. Finding a box of Super 8 snuff films depicting various horrific deaths in the attic of a house he knows to be the scene of an entire family’s murder, he starts to probe the mystery of the films and the face of a demonic figure that appears in the negative space within them. Hawke plays Ellison Oswald, a true crime writer who hasn’t had a hit book in a decade and who is absolutely desperate to find some unsolved mystery to research, expose and basically get his teeth into. Hawke had effectively avoided the entire horror genre throughout his career (and by Derrickson’s own admission took a lot of convincing before agreeing to sign on) and the basic plot of the film sounds terribly silly. The film, starring Ethan Hawke, was an unlikely hit.
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The film could be a textbook example on how to use negative space to make a story and its atmosphere work, and however you feel about the ambiguous and often frustrating third act, there’s no doubt that the final shot still holds as much menace within its negative space as the preceding ones.
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As the audience, we begin to feel near-compelled to yell “IT’S BEHIND YOU!” as various characters are slowly dogged by the rambling It, and at some indistinct point during the film’s running time we come to realise that we’re now barely watching the main characters and are instead completely focused on the negative space surrounding them, our skin crawling and our fists clenched with tension.
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It Follows ostensibly makes for a macabre modern pantomime. The only way to rid herself of the mysterious and homicidal stalker is for Jaime to have sex with someone else and “pass it on.” In this way, the concept is similar to Hideo Nakata’s 1998 classic Ringu, where demented well-dweller Sadako could be thwarted by showing a copy of her videotape to some other poor bugger. She will be pursued by an ambling figure in various guises that won’t stop until it’s killed her – at which point it will fall back to pursuing the person who originally infected her. He explains that now they’ve had sex, she’s infected with what is essentially a supernatural virus. As Jaime lies in the back of his car in a state of post-coital bliss, he suddenly chloroforms her, drags her out to an abandoned concrete location and ties her to a wheelchair. Jaime (Maika Monroe) is on a fairly pleasant date with her new boyfriend, which involves a consensual sexual encounter between the two toward the end.
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The movie doesn’t waste any time setting the pace. Not only does the film’s basic concept cripple the main character psychologically, it slowly takes apart our own ability to be comfortable with what we’re seeing. It Followsĭavid Robert Mitchell’s It Follows is described as a “supernatural psychological horror film” for good reason. One crosses the finish line as, arguably, a great piece of modern horror, and the other… well, it kind of doesn’t – but let’s examine why. Two recent films in the genre have used negative space extremely well.