A young girl is sent to live with her estranged father and his girlfriend at their new home. The father, Alex has plans to spruce up the home with the help of his interior decorator girlfriend, Kim. The previous owner of the home was a famous painter who mysteriously disappeared. Alex's daughter, Sally, soon discovers the cause of the painter's disappearance. Written by
Katie Holmes and Abbe Holmes (who provides the voice of Sally's mother) have no relation to each other. See more »
Kim ends up tangled in the ropes of the fairies and dragged down into the basement. This tragedy is a loose end. No police report is filed, no other characters are shown to react to this and the aftermath of this event is never built up on. This is because the creatures must take one life to replenish their numbers each time they come out. In the original movie, Kim is their target, to make her one of their own. The taking of Kim at the end of the movie and her speaking later on with the creatures implies that she was turned into one of them and is no longer human. This is idea is further encouraged by one of the creatures who seems to hold a resemblance to Blackwell who was also taken along with his son. See more »
They will find us. We must fight.
No. We will go deeper, and we will wait. They will forget, and others will come.
When will they come?
We have all the time in the world.
All the time in the world.
All the time in the world.
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Don't Be Afraid of the Dark is exactly the kind of horror movie you want to hate. It's a remake, it involves a child in peril, and it contains some (and I say "some") very nasty violence. Just watch--you'll have trouble hating it.
Guillermo del Toro's new collaborative effort with first-time director Troy Nixey is, simply put, horror done right. There's a lot here that can be found in any horror movie that comes out now, but this one succeeds for relying on tone and setting rather than blood and guts. The acting from all three leads is surprisingly good, and Nixey shines as well behind the camera.
However, at the heart of the film is a ballsy story co-written by del Toro that really keeps the film stable. Don't Be Afraid of the Dark is originally based on a 1973 British TV movie that has been hailed as one of the scariest movies ever made. The remake features a new main character: Sally, a child, played by Bailee Madison. Sally moves into a new Gothic mansion with her father (Guy Pearce) and a new stepmother (Katie Holmes). There, she discovers a ventilation system where she hears breathy voices calling to play with her. At first, the voices are friendly. Then, they're vicious and violent.
The violence of the movie is one of the reasons why this movie succeeds so nicely. The first scene is grisly and is, without a doubt, the reason why Don't Be Afraid of the Dark earned its R-rating rather than its intended PG-13. There isn't constant violence. In fact, there isn't even that much of it. Most of it is bloodless, but all of it is enough to make us squeamish and afraid.
Another area in which the movie excels in that respect is its design. The mansion that Nixey and del Toro chose is gorgeous. The intense lighting, which Nixey noted as "inspired by Rembrandt" in the Q&A following the film, is moody and adds to the heavy tone of the movie. The house is just creepy on its own, but it becomes creepier thanks to the creature design. Unlike what the trailer tells you, the creatures are pretty tiny. What creeped me out about them was the loud, shrill screeches they let out. It'll give you chills. Keep a keen ear and listen for del Toro, as he voices a few of the creatures.
Don't Be Afraid of the Dark is a very fun and very creepy horror movie experience. Though not without its flaws, it has a strong story stabilized by good characters and a surprisingly dark ending, and it's got some good acting too. It's hard not to be absorbed in the mesmerizing light pools of the mansion, and it's even harder not to be entertained. As usual in del Toro films, darkness and unseen monsters reign, and as usual, it's pretty damn unnerving.
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