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Scariest of all is Kirby who, in tight proximity with Leon’s digital camera (guided by his third cinematographer in as a lot of movies, Brett Jutkiewicz), by some means conveys Alina’s blackout by doing as small emoting as possible. There’s an unexpectedly heartbreaking cosmic cruelty to the sequence absent in Leon’s other movies, though the cruelty is a byproduct of Alina’s stupor and not the intent. Leon shoots this vital instant, where Alina’s amnesia kneecaps her, with relaxed poise. Yet, the film’s ultimate act redeems her, this sort of as Perry’s flicks redeem any person. You’re Next instantly sets up a premise that we have found many times just before, that of the "home invasion" model of horror-thriller, in advance of subverting the genre’s expectations when our Final Girl proves to be significantly much more adept and able than any of the viewers members recognized-a second that also transforms the film from "home invasion" into far more of a pure slasher. A slasher film wherever battle-hardened troopers exchange the traditional nubile teenagers. The action, importantly, is viscerally shot and impactful, building for a movie the place each individual physical confrontation has serious, concrete penalties.