After kidnapping and brutally assaulting two young women, a gang unknowingly finds refuge at a vacation home belonging to the parents of one of the victims: a mother and father who devise an increasingly gruesome series of revenge tactics.
A soldier introduces himself to the Peterson family, claiming to be a friend of their son who died in action. After the young man is welcomed into their home, a series of accidental deaths seem to be connected to his presence.
Aubrey and Paul Davison welcome his family for a reunion in their isolated vacation house. Their sons Crispian comes with his girlfriend Erin; Felix with his girlfriend Zee; Drake with his wife Kelly; and their daughter Aimee comes with her boyfriend Tariq. When they are ready to have dinner, they are attacked by a stranger with a crossbow, and Drake is wounded by an arrow and Tariq dies. They discover that their cell phones are jammed and they are trapped in the house. Erin tries to protect the house, closing doors and windows, but the masked killers murder the members of the family. Are the killers lunatic? What is the motive for slaughtering the Davison family? Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Looking for the Magic
Performed by Dwight Twilley (as The Dwight Twilley Band)
[Courtesy of Capitol Records
Under license from EMI Film & Television Music
Used by permission of EMI Film & Television Music] See more »
More accomplished and satisfying than one might expect.
YOU'RE NEXT is, unabashedly, yet another "nuclear family and/or rich yuppies besieged by masked psycho killers at vacation home" slasher, right down to the obligatory "last girl" element. But while the movie's schema is completely typical, its executionsmart script, decent cast, solid direction by Adam Wingardis exemplary.
The major detail YOU'RE NEXT gets right is to provide actual motivation for both the villains' kill spree and for the heroine's ability to survive the abattoir (other than being yet another innocent virgin with gumption). This alone is enough to place the film at the pinnacle of its sub-genre. Moreover, director Wingard and screenwriter Simon Bennett demonstrate a talent for side-stepping annoying clichés. The assembled victims numbers ten instead of the usual half-dozen, with not one idiot teen in the lot; the squealing, screaming, helpless characters are winnowed out with audience-considerate dispatch so the more fit and bright can make the best of their situation. Meanwhile, refreshingly, the murderers are NOT portrayed as unstoppable killing machines until the final ten minutes: one even gets short of breath and needs a time- out!
The pacing and shock effects are crisp; the moments of black comedy are sparingly, intelligently planted.
All told, far more accomplished and satisfying than a genre fan has any right to expect.
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