Take Back the Night presents challenges for any prospective reviewer, especially this one. Gia Elliot’s micro-budget feature is not a broad, generalist horror movie: this is something which is bristlingly upfront about its goals and message. Take Back the Night is tackling sexual violence against women and the ramifications it could have on someone’s mental health, survivor guilt, gaslighting, and the communities that pop up from those who have such experiences. To the extent that the first credit after the film closes is not actors, producers, or even the director, but charities to get in touch with if you have been affected by the subject matter and themes included in today’s presentation. Such a tactic gives the impression of a TV special rather than a blu-ray release that hits the broader mass market – a passion project from the actors, producers and directors first and a horror movie second. Talking about this film with this clarity is justified when you look at the toxic reception this has received on platforms open to user reviews.
Emma Fitzpatrick (who also wrote and produced) stars as Jane, an LA-based artist and beloved Instagram influencer going under the username @janedoedoes. Enjoying the party lifestyle, with its alcohol, drugs and bathroom sex – she eventually walks home after a fun night out. Taking a shortcut through an alleyway, an older man locks her in – asking what is “in it for him?” Heading back, she passes a bin surrounded only for someone or something to jump out and attack her. Surviving the altercation, she’s covered in soot, scuffs and crescent-shaped cuts. Finding her way to a nearby hospital: a detective asks questions as part of her evidence-gathering process. Men who attack women, sexually or otherwise, are monsters – but in this script, it is a literal monster with black flesh, the smell of death and an insatiable desire for fear and torture.
The skin-crawling dread, the sweaty-palmed anxiety of Jane walking past that bin, knowing that it’s the only way she can get home, knowing that she is waiting for someone to attack her. It’s incredibly potent in a way that horror very rarely is.
Take Back the Night is as far from subtle as possible – there is no subtext, this is a movie about its theme, no clever subtextual writing, no disguise: what you see is what you get. Earnest in its messaging, even if it really shouldn’t need to be delivered in 2022, but with the consistent violent crimes and murders perpetrated upon women – well, here we are, evergreen. In using the trappings of fiction and genre, subtlety and subtext are more effective tools than direct, plain speaking. Furthermore, Jane being an influencer who publishes content and talks to her followers and the media about an open case, making the police’s job near impossible, creates muddled messaging. Writers Emma Fitzpatrick & Gia Elliot pull the messaging together, but it’s a chaotic path getting there.
As a horror film, Take Back the Night has some intense moments; a highlight that sees both the messaging and genre in effective symbiosis is the first attack in the alleyway. The skin-crawling dread, the sweaty-palmed anxiety of Jane walking past that bin, knowing that it’s the only way she can get home, knowing that she is waiting for someone to attack her. It’s incredibly potent in a way that horror very rarely is. Likewise for the scene in the underground train stand. In later attacks, the concept of the safe space creates a horror climax that reminds of quieter scenes in the cult-classic Messiah of Evil. For the horror in Gia Scott’s movie to be vivid despite featuring CG flies and a CG monster with little real-world substance is impressive. The horror works because it recreates real lived-in terror and not because these scenes are well-constructed and paced – outside of that first interaction, anyway. As I said, this movie presents considerable challenges for a male reviewer.
Gia Scott and the entire passionate ensemble have created a compelling and timeless film that openly discusses a myriad of disgustingly evergreen relevant subjects. As for the broader appeal, it is limited by this not being a horror film for horror fans – but a public safety movie along the lines of ‘Charley: Strangers‘ or ‘Water Safety: Lonely Water‘ on a larger scale. An affirmation, a beacon of female togetherness and community. A fact and tone of release Arrow Video have expanded upon with their package of extras. An audio commentary by writer-director Gia Elliot and Alexandra Heller-Nicholas author of ‘Rape Revenge Films: A Critical Study. ‘Please Don’t Say the Word ‘Monster’ on National Television’, a visual essay by film critic Emma Westwood. ‘Trauma and Space, a visual essay’ by film critic Cerise Howard explores the idea of safe spaces, sanctuary and vulnerability in Take Back the Night. ‘What is a Body?’, a visual essay by film critic Justine Smith examining bodily autonomy and perception in the digital age. And ‘#MonstersAreReal’, a visual essay by film critic BJ Colangelo looking at survivor unity, sexual violence, and social media.
TAKE BACK THE NIGHT IS OUT ON ARROW VIDEO BLU-RAY
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Take Back the Night is streaming on Arrow Player
Take Back the Night
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