In a genre in which innovation is increasingly resigned to the furthest outskirts, there’s something almost admirable about just how staggeringly redundant The Strangers: Chapter 1 is, early contender for 2024’s most pointless horror movie. It’s the third in a series that should have stopped after one, a reboot that’s more of a remake but sold as a prequel while also acting as the start of a new trilogy, an over-complicated attempt to squeeze new life out of old IP. The 2008 original, which starred Liv Tyler and Scott Speedman as a couple menaced by three masked invaders, was a short, sharp shock to the system, a bare-bones exercise in drip-drip suspense made scarier by its cold, motivation-less villains (“Because you were home”).
There was a stark, naturalistic nastiness to it, closer to Michael Haneke’s Funny Games than most of the silly genre dreck being churned out at the time and so while the film was a commercial win for Universal, it didn’t lend itself to easy extension. A troubled decade of false starts finally led to 2018’s sleekly made yet maddeningly scare-free sequel Prey at Night and now six years later, with rights moving over to Lionsgate, we have a new trilogy, ambitious in concept if nothing else. The three films are all set to be released within a year, an expansion of a world that worked best on the simplest of terms, a perfect example of unnecessary bloat at a time when we’re surrounded by it. It’s the era of 10-hour TV seasons that could be 100-minute movies and prequels to stories answering questions we never cared to ask and with yet more to come from the worlds of Harry Potter, Twilight and Lord of the Rings, why not stretch a tight 85-minute shocker into a multi-film franchise?
