#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – A man called Paul is working after hours and is murdered by a supernatural entity in the shadow. When his son, the boy Martin, is frightened by the same creature, he sees his mother Sophie talking to an imaginary friend called Diana in the shadow of her room. Martin does not sleep anymore during the night. His older step sister Rebecca who lives alone is summoned by the social assistant. She brings Martin home and recalls her own experience with Diana years ago when she was young. Rebecca and her boyfriend Bret investigate the connection of Sophie with Diana and come up to a scary revelation about their past.
Plot: Rebecca must unlock the terror behind her little brother’s experiences that once tested her sanity, bringing her face to face with a supernatural spirit attached to their mother.
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|6.3/10 Votes: 115,563|
|6.3 Votes: 2930 Popularity: 25.377|
2016 continues to be a great year for horror, and _Lights Out_ is a decent example of that, with a whole lot of originality.
_Final rating:★★★ – I personally recommend you give it a go._
Although a simplistic and familiar theme is explored involving sinister forces tormenting a child in distress, Swedish director David F. Sandberg brings something chillingly fresh to his horror/psychological offering **Lights Out**. Sandberg, making his feature film debut, delivers an adequate amount of tension and trickery for all things considered ominous in the edginess of darkness. Lights Out is a reasonable chiller that demonstrates a decent measurement of depth without tripping over its cliched feet. The characterizations that go “bump in the night” in **Lights** are not as disposable as one is routinely used to experiencing in produced over-indulgent, generic boofests.
The construction of **Lights Out** feels atmospheric and sparse at times but the manufactured thrills somehow add the necessary alarm factor in a psychological thriller that boasts solid performances particularly by actress Maria Bello as the tortured soul at the center of the CGI creepiness. Sandberg’s adventurous direction and screenwriter Eric Heisserer’s spell-binding script works in part because Lights Out never extends itself beyond its lean and claustrophobic confines. The storytelling is taut and the scare tactics create worthy jolts without further monotony. There are predictable jumpy cuts and the movie never fully deviates from the conventional suspenseful landscape that populates countless fright fables. Still, **Lights Out** manages to shine some shady brightness on this effectively drawn hair-raising spectacle.
The premise introduces the long-lasting notion of childhood fear and despair on the jeopardized shoulders of young insomniac Rebecca (Teresa Palmer) who has long since left the haunting homestead where the evil vibes of a dastardly spirit had tortured her relentlessly. Rebecca is now concerned that the tawdry tradition of this shifty spook is now about to terrify her little 10-year old stepbrother Martin (Gabriel Bateman). In fact, Martin wants to split his hellish household and escape to Rebecca’s place for some guaranteed safety. After all, who can blame the poor kid for wanting to abandon his doomed domicile.
Enter the problematic Sophie (Bello). As the nervous-wreck mother to both Rebecca and Martin, Sophie has had her share of disappointments, heartaches and breakdowns in the past and present. It was revealed that Sophie had spent some critical time in a mental institution many years ago which explains her current complicated issues with men/relationships not to mention the strained connection with her disillusioned children. More important, Sophie faces the dilemma of encountering an assortment of deceased figures that randomly pop up from time to time within her expansive, worrisome walls. But nothing is more arousing or concerning than Sophie’s run-ins with the devilish Diana (Alicia Vela-Bailey), her troubled off-the-wall pal and fellow asylum inmate from yesteryear.
What is so jittery about Diana’s presence in the house is that she is so clingy and protective of her precious Sophie. The key to Diana’s horrifying existence is when the lights are turned off, Thus, it allows the deranged feminine entity to roam the house in a blanket of blackness while staking the beleaguered Sophie in the process.
**Lights Out** (originally Sandberg’s short film competition entry years ago) acts as a symbolic mirror reflecting the echoes of mental illness and inherent self-destruction concerning the fragile psyche. The film percolates convincingly when Bello’s Sophie is scarred constantly by the harried ties that bind. Sandberg demonstrates a wounded woman on the edge of insanity. The suffering of inner conflict and outer self-doubt has consumed Sophie to the point where she has personalized her self-inflicted poison with baggage ranging from a couple of deceased husbands to the harsh reality that her children are weary of her toxic nuttiness. Bello displays the brokenness and confusion of her portrayal with applauded conviction. The sister-brother tandem of Palmer’s Rebecca and Bateman’s Martin is both comforting and intriguing as they are joined at the hip in their fright night delusions. Vela-Bailey’s Diana is deliciously shadowy as the intrusive Diana applying the statically gloom.
The nightmarish special effects are challenging and imaginative and cinematographer Marc Spicer’s experimental lighting gives **Lights Out** its gripping sheen. Overall, Sandberg’s menacing mechanism of a movie certainly forces the shaky hand of its skeptical audience to snuggle up to the nearest light switch.
**Lights Out** (2016)
Rat-Pac Tune Entertainment
1 hr, 21 mins.
Starring: Maria Bello, Teresa Palmer, Gabriel Bateman, Billy Burke, Alicia Vela-Bailey, Alexander DiPersia
Directed by: David F. Sandberg
MPAA Rating: PG-13
Genre: Horror/Psychological Thriller/Supernatural
Critic’s rating: *** stars (out of 4 stars)
(c) **Frank Ochieng** (2016)
Creepy and satisfying
Lights Out takes some queues from Japanese-styled ghost stories, so it will be attractive to that audience. It has a strong chill-factor but a somewhat average formula, and it could have used fewer back-story explanations to make it more mysterious, especially since those elements did not feel original.
Based on chill factor alone, it ranks higher than Dark Water, The Forest, Paranormal Activity, The Others, The Babadook, and The Boy, and lower than The Ring, Ju-On / The Grudge, and other Japanese-styled ghost stories, as well as any horror James Wan himself directs. Comparing it to masterpieces like The Exorcist and Poltergeist has no value.
I would say its chills rank somewhat evenly with The Woman in Black and It Follows, without being as original as the latter.
The ghost itself is creepy enough, but the overall movie didn’t have the creative twists that we enjoyed from movies like The Boy, The Others, The Sixth Sense, and 10 Cloverfield Lane. It also didn’t have the storytelling chemistry of James Wan’s own Insideous or The Conjuring movies.
I am a fairly difficult person to frighten. I have been seeing horror movies at the theater since the 70’s, and I am usually only interested in the ones that have a supernatural or fantastical element to them. So I am very critical of them, and the only ones I collect on disc are either fun (Tremors), scary (the Grudge), or both (An American Werewolf in London). I will collect this one.
Ghost stories are done to death. It is very difficult to come out with anything scary that is original. I think Lights Out could have used the guided hand of a third-party master horror writer, mostly revising the back-story revelations and using the character relationships to build suspense and mystery surrounding what is going on. Then, perhaps working up to a punch line at the end so that suddenly the back- story rushes in on the audience in one moment, with one simple revelation. It is very difficult to think of how that can be done, but other movies have done it, and the payoff is huge.
I think Lights Out tried to do that a little but got confusing in the attempt.
But all-in-all it’s a nice little scary movie with a smaller production value but a satisfying ghost.
I went into this knowing that it was rated above average for a horror movie and came out feeling like I am on a totally different page.
It contains all the clichés of a typical, low budget horror movie with one-dimensional characters, a loose plot, weak acting, glaring stigma towards individuals with mental illness, and more. The fact that it is unable to hit the 1hr 30min mark should have warned me there was little substance and I did not find myself invested in the characters or the unveiling of the truth behind the situation. On a sidenote, there was not much to look forward to with the scariest moments already portrayed in the trailer as well. Terribly mediocre.
Original Language en
Runtime 1 hr 21 min (81 min)
Genre Drama, Horror, Mystery, Thriller
Director David F. Sandberg
Writer Eric Heisserer (screenplay), David F. Sandberg (based on the short film by)
Actors Teresa Palmer, Gabriel Bateman, Alexander DiPersia, Billy Burke
Awards 3 wins & 9 nominations.
Production Company Grey Matter, Atomic Monster
Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera Arri Alexa XT, Zeiss Master Prime Lenses, Blackmagic Pocket Cinema Camera
Laboratory FotoKem Laboratory, Burbank (CA), USA (digital intermediate)
Film Length N/A
Negative Format N/A
Cinematographic Process N/A
Printed Film Format Digital (Digital Cinema Package DCP)