You're Next

The origin of the sub-genre known as “home-invasion” movies can probably be traced back to 1967 when Audrey Hepburn played a blind suburbanite terrorized by a group of home invaders. Within the next ten years, this sub-genre would take a darker turn with the subsequent releases of “The Last House on the Left” (1972), “Black Christmas” (1974), and “I Spit On Your Grave” (1978), all of which have recently been remade. The new “home-invasion horror” flick from director Adam Wingard and writer Simon Barrett falls squarely in the camp of those latter 70’s films.

A lot of casual horror movie fans might view the trailer(s) of this film or glance over a review of this festival favorite (it’s been floating around since 2011) and hear statements such as “fun,” “audience winner” or “reinvents the genre” and think the film “You’re Next” is just another lukewarm, neo-horror film that Hollywood is churning out in droves these days. One might be lead to believe it’s in the vein of the “Scream” films, or the “Final Destination” franchise or possibly akin to “I Know What You Did Last Summer” and think that you’re in for a rollicking afternoon of laughs and light chills, let me assure you, “You’re Next” is NOT one of those films.

This movie is what some in the industry call a “hard-R,” meaning it earns each and every aspect of that rating. It has an “R” rating for a few sex scenes (one of which is graphic for reasons that have little to do with the sexual act, and most viewers will find offensive and discomforting) and brief nudity, some profanity and sexual dialog, but the content that viewers should be most aware of is the unrelentingly violent nature of this film.

The plot of “You’re Next” is pretty genre-standard and basic. The Davision family is having a family reunion and has invited their four adult children and their significant others to join them at their countryside home. The house is very impressive, with multiple rooms that allow everyone a space of their own and the ability to spread out. Another significant attribute of the house (and the house is a significant character in this film) is that it’s in the middle of the wilderness and the nearest neighbors are a far ways off, well at least not within the range to scream for help.

The reunion turns dramatically violent when the family is brutally attacked by mask-wearing home invaders wielding axes and crossbows. If you have been watching TV or looking at billboards recently, there is no doubt you have seen these “eerie” looking animal-masked intruders. These “robbers” wear plastic animal masks that look like forest creatures out of a Grimm fairy tale.

From the first attack, it is apparent these “creatures” are not there to steal or rob, their purpose is more exact, they have come to kill the family and no one is really sure why. Since the family is well off, there is an underlying theme of social class below the surface of this eerily, grizzly movie.

The movie makes a sharp turn about ½ through when it is revealed that one of son’s girlfriends, Erin (Sharni Vinson), is a nature survivalist that has trained in the Australian outback. She turns the tables on these mask-wearing killers, and the film goes from a “home-invasion horror” flick to a vigilante picture, and though the hunters now become the hunted, the violence perpetrated does not abate, but only grows more intense.

Recent horror movies seem to be firmly rooted in one of two camps. On one side, you have horror films that are trying to appeal to the largest possible audience while still maintaining a foot in the “horror” genre. These films typically garner a PG/PG-13 rating for some profanity, and thematic elements of horror, but, when it comes to violence, the film is usually pretty tame and just about all actual killing is done off screen, away from the viewers’ eyes; “World War Z” and “The Conjuring” are two most recent examples. Then there’s the second camp, in which “You’re Next” is deeply entrenched. These films do not shy away from intense scenes of graphic violence and torture. They are very dark and the violence is all up on the screen. Recent examples of these films include “The Hills Have Eyes,” “The Texas Chainsaw Massacre,” “Evil Dead,” “The Last House on the Left,” “Straw Dogs” (I am referring here to the remakes, the originals were comparatively pretty tame) “The Descent” and “High Tension.” If you have seen or heard anything about any of these movies, then you know what to expect with “You’re Next.”

Let’s be clear, if you are looking to be scared, I might even contend terrified, then “You’re Next” will definitely keep you on the edge of your seat. This film is very intense, and parts of it are truly frightening. In regards to delivering what a horror movie is intended to do, this film definitely does the job. Through much of the movie, the director toys with the audience; I would go so far as to contend that the audience is being manipulated.

In regards to objectionable material, there are about 20 instances of profane words of the four-letter variety (15 f-bombs, and a handful of various other colorful descriptors). There is also some sexual dialog. In addition, there are two sex scenes, and a third scene where a woman takes off her bra momentarily, and there is brief nudity. The movie starts off with a sex scene (which is more referential to earlier 70’s films than actually sexual), and, after it ends, while the man goes to take a shower, the woman walks around with a robe slightly undone and her breast is briefly exposed.

There is a sexual scene later in the film, that though it does have a couple engaging in a sexual act, the act itself is not what will offend most audience members, but the object that is in the bed with them that audiences members will find unsettling.

For Christian viewers, the thematic element of vengeance/retribution, which is intrinsic to “home-invasion” movies, will also prove troubling. The third act of the film centers on the victims turning the tables on their tormentors.

The aspect of “You’re Next” that will upset most viewers is the overwhelming violence of the film. There are many scenes of graphic violence that are far too numerous to list here; most of which would offend some readers based on the descriptions alone. I would submit that if you’re uncomfortable with the description of violence, this movie is absolutely not for you. In addition, getting into the specific violent acts of this picture would reveal plot points in the story that would serve as spoilers for those who may indeed want to see this film. I will suffice to say that those who are on the fence and are concerned about its subject matter should AVOID THIS FILM. The killings (and there are many) in “You’re Next” are not subtle and involve sharp, piercing objects with blades and blunt edges, and much of the time the only thing that’s going to keep you from seeing the violence/carnage inflicted by these objects is by turning your head or closing your eyes, because the filmmakers are not going to allow you that luxury with cutaways.

There is something kind of sinister at play here, as the filmmakers try to lure the viewers into a false sense of security. The film starts off seeming like a generic 70s “slasher film” (of which this film pays great homage), and some of the killing does take place off camera. It’s when you start feeling comfortable that the film releases its most graphic form of carnage. Yes, the filmmakers are daring you to keep your eyes open, they’re daring you to look. They’re winking at you just as they are when they tell you, “You’re Next.”

Still on the fence with this one, here’s a reference point: The first half of the movie is “The Last House on the Left,” the second half is “Straw Dogs” (I’m referring here to the remakes). This hopefully gives you a reasonable idea of what you’re getting into if you decide to accept the producers’ invitation and check out “You’re Next.”

Violence: Extreme / Profanity: Heavy / Sex/Nudity: Heavy

See list of Relevant Issues—questions-and-answers.