For a while, it seemed like the primary legacy of Trey Edward Shults’ “It Comes at Night” would be its CinemaScore rating – one of the notorious handful of D’s handed out by the survey organization, which polls opening weekend audiences for their reactions to new releases.
(Back when we went to the theaters to see movies? You remember.) A low Cinemascore grade is usually less about the quality of the motion picture than how accurately the films were marketed; ads for “It Comes at Night” promised a jump-scare fright-fest, and instead, audiences got a grim chamber piece about certain death.Continue reading ‘It Comes At Night’s’ Bleak Realism Terrifies More Than Ever During A Global Pandemic at The Playlist.
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