Critic Consensus: No consensus yet.
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Critic Reviews for Static
Any appreciation of the film will come after it's over and you might say, "oh, that's why that happened." I'm not sure the ending is worth the time invested.
Audience Reviews for Static
Home invasion thrillers, really, are a dime a dozen. I don't wanna say that they're easy movies to make, but they're always gonna find some sort of audience. Whether that be on VOD services, streaming sites like Netflix/Prime/Hulu or, even, Redbox rentals. I don't know why, but I feel that these movies are easy sells simply because it's something that most people can buy into, particularly in the United States, where, it seems to me, it's considerably easier to break into a house than it is here, or at least where I live. My house, as well as every other house on my neighborhood, has a gate. That gate leads to the garage which, in turn, leads to the house itself. There's one house, the one across the street from me, that has a door, where anyone can get to, that leads to the living room. But, in the U.S, this isn't always the case. I've seen many cases where people sneak into other's houses without them even knowing about it. This doesn't happen where I live, unless you're outside or leave the gate open. Anyway, I guess that's why these subgenre still endures. It's easy and, mostly, believable. With that said, there's also very little innovation within this genre. That, obviously, isn't meant to be a blanket statement. You're Next is pretty unique. Intruders has a good concept, even if it doesn't utilize it as well as it should. And this movie, in its third act at least, does try something different. Which we'll, obviously, get to. As far as this movie is concerned. I think the critics' reviews on Rotten Tomatoes pretty much sum it up. The only reason why, really, you should watch this film, if you do decide on it that is, is to be how you feel about the third act of the movie. As far as I'm concerned, however, I'm definitely mixed on it. While I thought that, honestly, it was the best part of the movie, I also wish that it would have served a considerably better movie than the one we got here. But, again, we're gonna get to that later. The movie starts us off with a couple grieving the death of their only son, who drowned. Knowing how these things are, you know that, as misguided as it may be, there's a lot of blame being thrown around by Addie, since Jonathan was supposed to be looking after their son. In many ways, you could say that their marriage has been in limbo since the death of their son. They're not really moving forward in a positive way, given that both still have a lot of grief that they need to get over. One night, however, they let in this young woman who says that she's being followed by attackers, who are wearing masks. Jonathan and Addie let her in, but, immediately, Addie is distrustful of her due to her snooping around n their lives and going through her son's room. Through this young woman's (Rachel) inclusion, though, Jonathan is able to, finally, talk to someone about he's feeling, given that he's wife is drowning herself in booze and is, really, impossible to talk to. Addie resents this, since he trusts a stranger more than his own wife. But you could definitely see Jonathan's point in that he, really, can't talk to his wife because, again, of the booze and because of the fact that she blames him for what happened. Neither here nor there, I suppose. Anyway, Rachel is taken by the attackers and this is where the movie really starts. I suppose I should point out that I like the idea of exploring the grief this couple feels through their home being invaded by attackers but, really, I felt that it could have been handled a little more adeptly. Because, outside of some specific scenes near the end of the flick, they don't really tackle the subject once the real home invasion stuff starts. Another problem is the fact that the home invasion elements are generic and uninteresting. It has all the framework and the trappings associated with the genre and, realistically speaking, it doesn't even do the home invasion stuff all that well. It's all, mostly, hiding which I get. But there's no really intense sequences where Jonathan and Addie just BARELY escape their captors. Well, I mean, there are a few but those really aren't that impressive to begin with. The best home invasion films work simply because the people involved are in constant danger. Jonathan and Addie never feel like they're in danger once. I suppose there's a reason for that, of course. But, to me, until that point, you have to give us something to work with in terms of making it seem like there's some sort of threat to Jonathan and Addie. In fact, really, the attackers come across more incompetent than anything. And, again, there's a reason for that. I guess it is what it is, but I was hopeful that the home invasion stuff would have been a little more exciting. This brings us to the climax. This will contain MAJOR SPOILERS (for RT), so just skip. Anyway, the attackers have Addie kneeling in front of the pond that, I'm assuming, her son died in. Jonathan comes with a rifle and threatens the attackers. This is when the truth is revealed. Jonathan and Addie have been dead all along (and the two gunshots at the beginning followed by a view of Jonathan and Addie's body is a red herring). The home invaders are a paranormal crew hired by this realtor to remove the ghosts from the house, which is being sold. Rachel had been working with this group all along and is the only member of the crew that can see Jonathan and Addie without needing the masks, which is why the rest of the group is wearing them. Essentially, the reason this fake scenario was done was to put them in the same emotional state they were in when they lost their child so they could, finally, be able to grieve and move on. Both literally and figuratively, since Rachel's helping them cross to the 'other side', I suppose. As left field as it might be for some to find out that, actually, Jon and Addie were ghosts the entire time, the hints were there. Honestly, these hints were minor, but they were there. The scene that starts the movie, with the two gunshots with Jon and Addie's bodies. The sign outside the house that it is being sold and the mask that the invaders wear, when one is taken off a baddie, you can see some heat signatures (I think) through the eye-holes. It's just that these hints, outside of the gunshot one, aren't really handled well. They're just not spaced out well enough for it to be satisfying. The first two are really close together and the last one (with the mask) is more than halfway through the film, maybe even over an hour into it. And it's not that the pacing of it annoyed me, it's just that movies like these are covered in these small hints throughout the entirety of their runtime or, at least, until the twist is revealed. Get Out is a movie that is steeped in these clues and, when everything is revealed, you're like 'oh FUCK' and then you connect all of the dots that the movie expertly hid in plain sight from you. This movie has, like, three dots for you to connect, which makes you wonder what the point of it all was. Then again, Get Out is one of the most impressively subversive movies in recent memory and this, well, this is just a generic home invasion thriller with an interesting ending. I believe I mentioned this earlier, but I wish that the ending served a much better movie. The reason this gets 2.5 stars is because I thought the ending was quite well done. That and because Milo Ventimiglia and Sarah Shahi both do a very good job at portraying grieving parents. But, really, if it wasn't for that, this would be a two-star affair. It would be watchable, but not memorable. As it stands, this added up to a decent little movie with a fairly interesting ending. Can't say I'd recommend it, but the ending will definitely inspire some sort of reaction in you, for better or worse. There's a good movie and story to be told here, I just wish it was handled with someone who had a better grasp of how to craft a good movie. Like Scorsese or something.
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