As soon as the masked assailant shows up, the chase is on and it doesn’t let up for the rest of the film. Fans of the chase sequences in Williamson’s Scream 2 and I Know What You Did Last Summer are in for a treat. In the post-screening Q&A at TIFF, Williamson mentioned his love of chase scenes in horror and John Hyams, whose film Alone is a masterclass in tense set pieces, is the perfect director to bring that vision to life. The anticipation of what is inevitably coming is absolutely delightful, but the payoff is even better. In true Williamson fashion, the jokes, jump scares, and fake-outs come early and quickly the screenplay has a rhythm that’s easy to invest in, particularly as the three characters settle in for the night and Nima Fakhrara’s ominous sonar-like score kicks in. The dynamic of the three characters is the focus, as is the geography of the giant, multi-storied cottage on the abandoned lake. Like most slasher films, the first act is a lot of character development and world-building. He’s upset after seeing a social media post of her kissing Benji ( Logan Murphy), so he spends the night trying to convince Parker to acknowledge their mutual feelings. Naturally, the peace is quickly broken when Parker’s hook-up DJ ( Dylan Sprayberry) arrives unannounced. It’s just the two of them and Miri, the more cautious of the two, insists that Parker, who is more casual (verging on flippant), follow all of the health and safety protocols around masking and social distancing. The characters in question are Parker ( Gideon Adlon) and her College roommate Miri ( Bethlehem Million), who are self-isolating at Parker’s empty family cottage following the closure of their school. Fauci’s name is mentioned on Anderson Cooper. Hell, the main characters even play a drinking game when Dr. Several of these moments are reminders of how society was reacting to the novel virus when COVID was still new. We also see characters scrub down groceries with antibacterial wipes, an outdated practice that most people abandoned early during lockdown. There’s plenty of humor regarding COVID and its accompanying protocols, such as toilet paper shortages and refusing to assist someone in a life or death situation because they aren’t wearing a mask. The film takes place during a single night in the very early days of the pandemic: a time when fear, distrust and, yes, rage dominated a lot of our interactions with anyone entering our six-foot radius. The date is paramount in establishing the context for Sick. In addition to reminding audiences about the early onslaught of COVID, orders to self-isolate and the early death toll, there is a key establishing date: April 3, 2020. Sick, the new slasher/home invasion film written by Kevin Williamson and Katelyn Crabb, opens with a mini-scroll.
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