Dollface's struggle with the acts she has committed is further implied by her interactions with the Mormon boys. She's a sinner, and she's a little shaken up by what she's just done.
But next time, it won't be her first rodeo. The idea for "The Strangers" came from a number of different real-life sources. While you have to go digging through the film's bonus features and production notes to uncover how writer-director Bryan Bertino's own brush with home invasion inspired the film, the ending of "The Strangers" hammers home some of the film's more well-known sources. As our unmasked trio pile into their pickup truck — a strange little family united by a desire to enact random acts of violence — the connective tissue to the Tate—LaBianca murders is unavoidable.
As Bertino recounts in an interview on the now-defunct website Shock Till You Drop , the film was indeed in direct conversation with the murders enacted by the self-described "Manson Family. So, I got really fascinated with telling the victims' tale," Bertino explains. As Britt Hayes notes for Birth. One of the most unnerving similarities between "The Strangers" and the Keddie Cabin Murders takes place during the film's conclusion.
With Kristen and James being bound to chairs in their living room and stabbed in the early morning, it bears a strong resemblance to the fates of some of the case's victims.
Love 'em or hate 'em, jump scares are an essential part of horror films. While not all screamers, as they are sometimes called, are created equal, some are nobler than others. There's the dream sequence at the end of "Carrie," for instance, where our titular witchy heroine's bloodied arm bursts out of her rocky grave to snatch the traumatized Sue. And who could forget the concluding shot of the fantastic found-footage film "[REC]," which sees Angela dragged off into the darkness, screaming in terror at a monstrosity she cannot see.
From Jason's decomposing corpse springing out of the placid lake in the original "Friday the 13th" to Donald Sutherland's horrifying shriek at the end of the "Invasion of the Body Snatchers" remake, a final shocking scare is a totally acceptable if a bit silly way to end a horror film.
As the two Mormon boys who are going to need some serious therapy after this venture into the house, they spy James and Kristen's mangled bodies and investigate. Hovering over Kristen, the boys take in the crime scene with a frankly eerie silence, dumbstruck perhaps at the gruesome bloodbath before them. One boy hovers over Kristen's corpse, extending his hand towards her face hey, maybe he was going to check her vitals, who knows?
Then: bam. Kristen comes to, screaming. Cut to black. Considering the film's nihilistic gait, Kristen's survival is initially surprising. But upon closer inspection, the assailants leaving Kristen alive gives us some disturbing insight into the killers' psyche. They are not concerned with the act of killing, or even being caught. All that interests them is the violence — rhyme, reason, or consequence be damned.
Universal Pictures. The daylight brings no safety Universal Pictures. Wait a minute, whose cell phone is that? The lack of twist or grand reveal is precisely why it's so terrifying Universal Pictures.
James attempts to go and get help, but is captured. Kristen tries to contact help, but is later captured, as well. The strangers tie up James and Kristen, and when Kristen asks why they are doing this, Doll-face simply replies calmly "Because you were home". The trio then unmask themselves although their faces aren't directly shown to the viewer and take turns in stabbing the couple with a blade.
Once done, the couple were untied and the three leave. When driving down the road they come across two Mormon Boys. They stop and Doll face asks for a leaflet. When one of the boys ask if she is a sinner, Dollface replies "Sometimes". After getting the leaflet, the three of them drive off, with Pin-up Girl promising "It will be easier next time. James and Kristen were later discovered by the two boys.
Although James had died, Kristen had survived the ordeal and the police were contacted. It is not made clear as to whether Kristen lived much longer due to her severe injuries, and her fate is left ambiguous. In this sequel, they hunt down a family in a trailer park belong to their murdered relatives aunt and uncle. However, in the end, they failed to kill the entire family and are finally killed by two children of the family with Pin-Up Girl being stabbed to death by the older brother, Luke; Dollface being blasted in the face with a shotgun and the Man in Mask being bashed to the death with a baseball bat by the younger daughter, Kinsey, ending their reign of terror for good.
Despite this, in the ending Kinsey is sat by Luke's hospital bed, and begins to hear a sound outside the room which is similar to a toy that Dollface used to bait her earlier in the film, which is then followed by a knock at the door, similar to one that Dollface did, which indicates that one of the members of the group are still alive or that it is just a visitor or a member of hospital staff.
The M. If the door is answered, they ask for someone who likely doesn't live there. When they are told that they are not home, they then pretend to leave and return to terrorize and, later, murder the inhabitants of the home. They do this by removing their masks, binding them up and taking turns slowly stabbing them until they die from their injuries. In a reverse of The Strangers , Bertino states he later learned that the people knocking were robbing houses in the neighborhood where no one was home instead of attacking people inside their houses.
Still, the experience left an indelible mark on Bertino that later morphed into the terrifying portrait of random rental violence that The Strangers movie endeavors to depict. Michael Kennedy is an avid movie and TV fan that's been working for Screen Rant in various capacities since In that time, Michael has written over articles for the site, first working solely as a news writer, then later as a senior writer and associate news editor.
Most recently, Michael helped launch Screen Rant's new horror section, and is now the lead staff writer when it comes to all things frightening. A FL native, Michael is passionate about pop culture, and earned an AS degree in film production in He also loves both Marvel and DC movies, and wishes every superhero fan could just get along.
A variety of horror movies adopt this mode of curses, whereas Voices approaches the concept literally. Ga-in learns the source of her hereditary affliction when she seeks refuge with a long-lost relative Kim Seong-jun along with the above said classmate, Seok-min Park Ki-woong.
While other stories at this point would explain in detail how to remove the curse, this one only raises more questions. Frustration aside, the lack of concrete answers actually helps maintain a consistent level of dread until the very end. Voices negotiates the terms of its own premise all throughout; a supernatural force might be at play just as easily as a logical explanation encompassed by coincidences.
An unearthly reason for everything is very well possible, but the director plays both sides of the argument. Countering the surreal moments is the grounded notion that the family curse is really a coping mechanism. This is how someone contends with the bad things they have done in life while preserving the idea they are still good regardless of their offenses. If the ambiguity feels unsatisfactory, the story eventually makes a bold and conclusive choice. Voices is a passionate movie in spite of the many unidimensional characters.
Anger, guilt, shame. Audiences are also more locked into the story and its immediacy. Once the danger begins, there is no letting up. Several days worth of attacks and deaths become an endurance test for those watching. Voices strikes fear into the viewers on a deeper level. The gratuitous and graphic violence within is not likely to do more than catch the eye.
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