In darkness and who cannot be around any sort of light. Without getting into too much detail, she is now a creature who can only attack The bottom of who or what Diana might be and what it has to do with her family. Thatĭoesn’t fly with Sophie, and after she reclaims Martin, Rebecca tries to get to Own traumatic childhood years and tries to have Martin stay with her. When Martin mentions Diana, she recognizes the name from her Stepsister Rebecca ( Teresa Palmer)-whose own dad disappeared mysteriously yearsīefore and who has been estranged from Sophie since abruptly moving out a few When the school nurse cannot reach Sophie, she contacts his The night and has been conking out in the middle of the school day. The attendant weird noises and scratches, that he can no longer sleep through A few months pass and we learn that Sophie has gotten worse,Īnd her conversations with Diana are so unnerving to Martin, not to mention all ( Gabriel Bateman), talking about how mentally disturbed mom Sophie (Mariaīello) has apparently gone off her meds and seems to be talking to an imaginaryįriend named Diana. Just before his demise, however, he was on the phone with his young son, Martin Survives, while the factory owner ( Billy Burke) winds up meeting a gruesome end. Gets a lot closer when they go back out again.

Taking place in a factory after hours, instead of an anonymous apartment, it begins as anĮmployee (Lotta Losten, who starred in the short) sees a mysterious femaleįigure in the dark that disappears whenever the lights come back on, and who suddenly With a sequence designed to replicate the original short. Where something pops out of nowhere and scares the bejeezus out ofĮveryone-they're deployed in the service of a story that has little to offer otherwise, and begin to lose their effectivenessĪs was the case with “When a Stranger Calls,” “Lights Out” begins While Sandberg is good at creating “BOO!” moments-those instant shocks

Ways to expand on the original shorts that were clever, dramatically Putting it in such esteemed genre company as the original “When a StrangerĬalls” and “The Babadook.” In the cases of those works, the filmmakers found Sandberg was given a chance to expand the short into a full-length feature, Sandberg that was short on such elements as narrative complexity, characterĭevelopment and memorable dialogue (I don’t recall a single word being spoken) and long on coming up with more big jolts than would seem possible in such a short running time. “Lights Out” began life as a three-minute short film by David F.

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