It Follows

If you haven’t seen “It Follows,” it’s one of those horror films that landed right in the middle of the 2010s with a ton of buzz and a vibe that just feels entirely its own. The gist: after a very awkward and unfortunately haunted hookup, Jay (Maika Monroe) realizes she’s being stalked by a relentless, shape-shifting entity. It can look like anyone, moves at a painfully steady walking pace, and the only way to shake it off is to pass the curse on through sex. Truly, no dating app horror story can top this.

I love how this film creates dread out of the simplest, most mundane visuals. The entity doesn’t flip tables or throw objects across the room. It’s just always walking, and you’re constantly scanning the background for someone moving like they don’t belong. David Robert Mitchell, the director, taps into this primal fear that something’s coming for you and it will not stop, even if you cross state lines. And the way he shoots Detroit’s empty streets and forgotten suburbs makes you feel isolated in a way that’s more unsettling than loud jump scares.

The score deserves a mention because it’s absolutely killer. Disasterpeace took what could have been a standard horror soundtrack and made it pulse with synth-driven, retro tension. It ties the movie to ‘80s horror outbreaks without feeling cheap or like it’s just doing nostalgia for nostalgia’s sake. Every time the music ramps up, you start bracing yourself, whether anything’s actually happening or not. The sound and visuals work together so seamlessly that it’s hard not to get sucked in, even if you know deep down it’s all creepy vibes and suggestion.

What really works about “It Follows” is how it takes a simple, almost absurd concept that could have been silly and makes it stick in your brain. Jay and her friends don’t make a lot of the classic “idiot moves” you usually see in slashers. They process, regroup, and try to problem-solve like actual teenagers, which goes a long way toward making you care about whether they make it out. The way the threat slowly closes in adds genuine urgency instead of cranking up fake suspense.

That doesn’t mean the film is flawless. The pacing, especially in the middle chunk, gets a little fuzzy. There’s this weird stretch where it almost slips into a loop: get attacked, run, brief safety, repeat. A couple of attempts at character development for Jay’s supporting crew don’t really land. Some emotional beats are just left hanging, and honestly, you probably won’t remember most of their names. The film favors its relentless mood and clever rules over making you deeply invest in anyone who isn’t Jay, and that feels like a missed opportunity.

Let’s talk visuals again, because Mitchell made some interesting choices. He keeps the camera moving in slow circles or following characters at odd angles, which keeps you disoriented and helps you buy into the paranoia. The color palette is oddly bright for a horror movie, with daytime scares and pools of unnatural light. It’s sharply shot, but sometimes these stylistic touches take precedence over telling us anything new about the plot or the curse. That balance between style and substance isn’t always perfect, but it’s consistently gripping.

Maika Monroe, though, is the anchor for this whole haunted ship. Her performance is raw and weirdly grounded, blending fear, resignation, and a sense of growing detachment. Watching her run from this thing gets tougher, emotionally speaking, because Monroe never lets us forget how utterly alone Jay feels. The film hints at heavier themes about consent, trauma, and growing up, but floats them just enough so they don’t get heavy-handed. You can read into it as much or as little as you want.

By the end, “It Follows” leaves you with a lingering sense of unease, even if not all the questions get answered. It’s less about unraveling the mystery of the curse and more about living with it, which is, in a twisted way, kind of refreshing. The weird pacing issues and undercooked side characters hold it back from pure greatness, but the originality and execution make it stand out as one of the decade’s smarter, scarier horror films. You’ll probably find yourself looking over your shoulder for the next few days, which is really all you can ask from a movie like this.