'Don't Breathe' is superb terror with a weak ending.

Horror films are cheap and profitable, so Hollywood producers have loved them for years. It is not uncommon for titles to be profitable only on their first weekend, thus there is speculation of a prospective sequel that only makes sense on rare occasions.

Its budget is 9.9 million dollars, yet in its first three days of presentation in the US, ‘Don’t Breathe’ has raised almost 26. Fede Álvarez’s latest picture is a success, but its true value lies in its superior horror film, shot elegantly by the same person who remade ‘The Evil Dead’. The film only falters at the end.

‘Don’t Breathe’ is a straightforward film. The protagonists’ intentions are crucial, but the script by Álvarez and colleague Rodrigo Rodo Sayagues effectively transforms a simple crime into a terrifying nightmare.

This is why we understand the trio of teenage criminals’ methods and motives in the first few minutes without delving into detail. After establishing the plot with realism, Álvarez’s staging flourishes, catching our attention and clarifying the rules.

Álvarez and Sayagues establish that the blind man’s house is a fortification, making entry difficult without opposition. Thus, leaving will be harder without cheap methods that could taint the story.

After entering, Álvarez uses travel shots to introduce us to the residence. The technique is evident at some point, yet the camera movement is flowing and elegant, seducing us. It doesn’t match James Wan’s mastery in ‘The Conjuring 2’, but it shows a level that is unusual for this type of proposal and that he will maintain throughout the footage, albeit more subtly.

Álvarez develops a claustrophobic atmosphere around the characters as dangers escalate, creating a stimulating atmosphere that keeps viewers engaged and prompts unresolved questions. However, they fit and even create perverse situations that make the story more effective as a horror story.

Beyond that, the narrative gives a limited situation, but the blind man’s detail is employed more for its visual force, as diverse components accentuate both his strengths and flaws. There are some tiny concessions that make you believe if they had done such a thing, everything would have been settled, but it is built on the visceral from the start, justifying that sometimes you can react more by instinct than by head.

Stephen Lang plays a man with serious psychological issues, which we will learn more about as the film progresses. His presence commands respect, but the script gives him the tools to be implacable, especially when he uses his impressive physical strength. ‘Don’t Breathe’ would suffer without him because he makes us feel everything is possible.

He is surrounded by three competent actors who can convey their characters’ mounting sorrow. Jane Levy stands out the most, partly because of her somewhat more elaborate background that helps us understand her motivation when making certain decisions, but also because of her own interpretation, especially on her physical side having to show the torment she suffers, where she looks much better than Dylan Minnette, who is a little monotonous at that point.

Thus, a top villain and “victims“—still criminals—are equal. Álvarez effectively portrays ‘Don’t Breathe’ with a narrative that is not novel but effective, resulting in a smooth and engaging film. What’s wrong? A useless epilogue that at least didn’t follow through on their initial intentions, but it ruins the final result by being a mess after the nightmare we’ve lived, which has some shocking details.

In conclusion, ‘Don’t Breathe’ is a terrific and exciting horror picture with a flawed ending that seems to stretch the boundaries. Avoid the recent genre cinema craze, as Álvarez’s staging surpasses even David F. Sandberg’s in ‘Lights Out’.

‘Don’t Breathe’ is superb terror with a weak ending.

By triji

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