In a textiles warehouse, co-worker Esther sees a silhouette of a woman with monstrously long fingers. Lights Out takes this simple concept and creates a film out of it, let’s see how it does. It’s not simply the jet-black appearance of an unilluminated environment but the basic trepidation of what could be camouflaged within. That’s not saying that horror cannot be frightening if it takes place in daylight. How can something so simple have the ability to evoke dread amongst viewers? Imagine Dracula, an icon of horror that is synonymous with darkness and now imagine it once again but brightly lit instead it’s nowhere near as effective. Palmer and Maria are also effective in their respective roles.Throughout history the dark has been used as a device to add an extra layer to horror movies. Perhaps he'll excel in the upcoming Annabelle sequel which has a premise with lots of potential. Sandberg tries his best to keep the concept going however and his direction shows promise. The short story succeeds precisely because the initial scare is clever and the concept holds steam within the few minutes the story takes to finish - however, this feature length Lights Out loses steam, purely because whilst the initial scares are cleverly put together, the audience becomes so familiar with the concept that the would-be scares no longer terrify, but in some instances become comical. This presence can only be seen - yep you guessed it - when the lights are out. It tells the story of a mother (Maria Bello) and daughter (Teresa Palmer) and their estranged relationship, brought about in part by the mother's mental illness and also a ghostly presence that has latched itself on to the mother.
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