Well, it’s not long before Diana shows up and starts to make things ever so slightly uncomfortable for the pair. She agrees to look into the matter and decides to have Martin come live with her for the time being. This introduces his step-sister Rebecca who lives alone in an apartment. He overhears her having conversations in her room at night with the shadows in a darkened corner which naturally scares the crap out of him.ĭue to these events, Martin obviously struggles with sleep which gets the attention of the social worker at his school. If that wasn’t enough, it seems that the life form is named Diana and has some sort of hold over the boy’s schizophrenic mother, Sophie. It is revealed that Paul’s frightened son Martin is being haunted by the same creature. Paul is later dragged into the darkness and gruesomely killed by the demon. She warns owner Paul about the apparition and leaves. She then sees nothing when the lights are on. Creepily, only when she turns the lights off. 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. Throughout history the dark has been used as a device to add an extra layer to horror movies.
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