You’re Next cleverly puts the screws to the home invasion horror genre

Stop me if you’ve heard this one before: a group of people travels to an isolated location for a restful weekend away from civilization only to find themselves randomly targeted by a group of homicidal lunatics. This genre, which I like to call “Home Invasion Horror,” really became popular after the inexplicably successful The Strangers, which made absolutely zero sense. Based on a true story, the actual event took place in a populated neighborhood, not the middle of nowhere, so the idea of some crazed killers knocking on a door to see if someone is home makes more sense than the idea of a group of people hiding out in the woods with the hope that someone, some day would spend a night in that house. It was a stupid movie, and I hated it.

Which made me a little apprehensive to spend any time in a theater watching the newest “Home Invasion” horror film You’re Next. The story sticks to the classic home invasion tropes: a group of people (this time a family and assorted significant others) travel to an isolated mansion in the middle of nowhere (although there is a house not far away) to celebrate the anniversary of the parents. Once everyone arrives and dinner is served, the mayhem begins as each guest is picked off, one-by-one, by a group of masked killers. But then something funny happens …

And this is where you realize the sheer genius of You’re Next. The film is totally being sold as a straight “home invasion horror” flick in all of the ads I’ve seen, and after seeing the film I can see where this is even more genius. I can’t really go into much of the plot without destroying many of the twists – and yes, there are many – but the movie has a real 80s vibe to it, from the flat, not very pretty cinematography (everything just looks brown) to the electronic score that evokes Italian horror films scores by Goblin. The film even features cult fave Barbara Crampton (Re-Animator, From Beyond) as the mother. And going back to the TV ads, the narrator sounds exactly like the guy you would hear doing voice-over for any number of cheap 80s slasher films. (And even the original Lionsgate logo is seen at the beginning!)

There are also some great Savini-esque kills with lots and lots of blood and gore but through all of this the film is also pretty funny simply because everyone seems totally aware that this is really a parody of a “Home Invasion Horror” movie. The first third of the film pours it on thick, playing up every cheesy cliché we’ve all come to expect and hate in these films: the absurdly loud sound effects (even elevating three words of dialog to an extreme level just to get the jump), the out-of-nowhere hand on the shoulder, bad dialogue and even (intentionally) worse acting. There’s also a little modern bit with an annoying, extreme close-up, hand-held camera during the initial attack. It’s so bad you really can’t tell what’s going on, and one of the film’s only real flaws that betrays its intention.

But after the attack, the film takes a turn and flips all of your expectations on its ear. You’re Next could almost be considered this decade’s Scream because of the way it tears down this particular genre and shows it up at the same time … I mean, the story actually makes sense because there is a motive for the attack. That’s not something you normally see in a home invasion flick. What makes the film so great is that it can also work on different levels for different viewers. For those going only for the horror, they’ll get much more than they could have ever hoped for, and for the more knowing viewer, it works on the parody level because we’re in on the joke even as the actors are (almost) playing it totally straight. There’s no on screen references to these kinds of films, but the actors have to play the obvious to sell the joke (for instance, one actor’s line readings are so “bad” that you know he has to be involved in some way with the attack) while still playing it as if this is a serious horror film. It’s a fine line they all have to tread, and they all pull it off with aplomb.

My only fear now is that anyone who simply sees the TV ads and believes the movie to be just another knock-ff of The Strangers, or any number of by-the-numbers Platinum Dunes productions, will be doing the film and themselves a disservice. It is marketing genius, but at the same time – judging from a co-worker who assumed it was exactly what it seemed – it could be the kiss of death for the film’s success. Going in with the worst expectations, I came out a huge fan of the film and I highly recommend giving it a shot because everything is not always as it seems.