![]() Luke goes off to find Kinsey and The Man in the Mask kills a trapped and helpless Mike. The pair leave in their car to find Kinsey, who is hiding in the playground but is soon scared away by Pin-Up Girl, but a cinderblock is thrown through the window and they crash. They flee and return to their trailer where they find Cindy's lifeless body. Mike finds a gun and threatens The Man, who then disappears. Mike and Luke return to their Aunt and Uncle's trailer and are ambushed by Pin-Up Girl and The Man in the Mask. After helping Kinsey escape, Cindy is killed by Dollface. Dollface emerges from the bedroom and chases the mother and daughter into the bathroom. Kinsey and Cindy return to the trailer, but find that their phones have been destroyed. As they run, they find their parents and the family split up. Luke and Kinsey stumble upon the trailer belonging to their Aunt and Uncle but find their mutilated bodies. Dollface asks for Tamara again but then leaves, and Cindy starts to feel uncomfortable and the pair go off to find the kids. ![]() Back at the trailer, Mike and Cindy discuss what they will do once Luke is at college and they have the house back to themselves but they are interrupted by another knock on the door. Neither of them notice that they are being watched by Dollface who promptly runs back to their trailer. Mike instructs Luke to follow her and he finds her at a playground where he tries to show her the bright side of this new start. Mike and Cindy try connecting with their kids one last time but Kinsey leaves the trailer to be alone. After being told she has the wrong trailer, Dollface leaves and the family settle in. As they settle in, there is a knock at the door and Cindy opens it to find Dollface, unmasked albeit her face obscured in darkness, asking if Tamara is home. They finally reach their rest point, the trailer park seen earlier which is owned by their Aunt and Uncle, the occupants of the trailer, and a note left for them by The Strangers directs them to a trailer which has been marked with a smiley face on the mailbox. The family stop off at a diner for a break and Kinsey and Cindy argue about them shipping her off and giving up on her. They leave their house and quickly stop to pickup their son, Luke, who is reluctant to go and would rather stay home for the weekend. Kinsey has previously gotten into trouble and as a result of not being able to handle it, they are sending her to a new school to reform her. The next morning, Mike and Cindy are getting ready to take their daughter, Kinsey, to her new boarding school. Some time later, Dollface enters the bedroom of the occupants and lies down next to the sleeping man. She locks the door as a precaution and when she turns around, she finds Dollface standing menacingly in her kitchen. Inside, the female occupant is awoken by a knock on the door and after looking outside, she finds an empty pickup truck playing 80's pop music. It's all just crushingly dull.In an empty trailer park one night, the three masked Strangers who previously attacked James and Kristen arrive outside the only occupied trailer in the park. They're also able, supernaturally, to be anywhere, at any time, and to know where their victims are at all times. The killers, on the other hand, are inhumanly imperturbable, with nary a drop of adrenaline affecting their actions. And they're always poking around where they shouldn't be, facing the wrong direction, or running from danger in plain sight. Unbelievably, all four of them leave their trailer without taking their phones. The characters aren't very smart, and their dialogue never really rings true. It has predictable jump scares and clichés like the lone, creaking swing on the swing set. He even includes a De Palma-like split-screen shot.īut the movie disintegrates quickly from there. ![]() Director Johannes Roberts ( The Other Side of the Door, 47 Meters Down), starts things off promisingly, with a 1980s-style title card and a creepy, 1980s-style synthesizer score, as well as some ironically chosen '80s pop songs. Thus, the sequel, The Strangers: Prey at Night, which is completely unnecessary other than as an investment. The original The Strangers (2008) wasn't good (or well-received by either critics or viewers), but it still made lots of money. This 10-years-later sequel to one of the staples of the home-invasion horror subgenre is aggravatingly typical, with baffling lapses in logic, dumb characters, and annoying, all-powerful killers. ![]()
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