For every unique and
creative idea implemented in The Strangers, there is an equal amount
of missteps and rehashed concepts scattered throughout. The very
premise borrows heavily from Michael Haneke’s 1997 thriller
Funny Games, however the approach offers several new methods. Horror
fans may be pleasantly surprised to find The Strangers relying on
inventive scare tactics and a sadistic sense of purpose, though
gorehounds will be dismayed at the lack of free-flowing red stuff
and the relatively little amounts of actual onscreen bloodshed.
Recently estranged couple Kristen (Liv Tyler) and James (Scott
Speedman) arrive at their friend’s remote country home in
gloomy spirits after an unexpected turn of events at a wedding
reception. Things get even worse when a seemingly lost young girl
continues to antagonize them and three masked strangers arrive
to terrorize the stranded couple.
Perhaps with the horror genre more than any other, it seems that
everything has been done before. The trick then might be to reintroduce
the audience to a style of horror they’re familiar with,
but under a new light or with a glossy coat of unexpectedness.
The Strangers begins, as many do, with a written epilogue sprawling
out murder statistics and the foreboding message that what we’re
about to witness is based on true events. From there the two main
characters’ plight plays out as expected for the most part,
as one quickly realizes there are only so many possibilities and
outcomes for the fate of so few primary victims. What sets The
Strangers apart from much of the horror genre released of late
is its method of building suspense. Rather than relying on copious
amounts of blood and gore or the tiresome “jump scares”
that permeate every scene in lesser fare, here the camera focuses
on our victims and allows the terror to creep into frame or lie
dormant in the background awaiting an opportune time to strike.
Seeing the antagonists patiently drive our unfortunate couple
insane blankets the film in pervading suspense and a moody dementia.
