
Color, 2018, 105 mins. 37 secs.
Directed by RKSS ( François Simard, Anouk Whissell, Yoann-Karl Whissell)
Starring Graham Verchere, Judah Lewis, Caleb Emery, Cory Gruter-Andrew, Tiera Skovbye, Rich Sommer, Jason Gray-Stanford, Shauna Johannsen
Gunpowder & Sky (UHD, Blu-ray & DVD) (US R0 4K/HD/NTSC), Pandastorm (Blu-ray & DVD) (Germany RB/R2 HD/PAL) / WS (2.35:1) (16:9)
wave of '80s teen nostalgia projects like Super 8, Stranger Things, and the 2017 take on Stephen King's It, the
Canadian horror-suspense hybrid Summer of 84 is a vicious little poison pill tucked away in what seems like a spin on the killer neighbor formula a la Rear Window and Disturbia. Made by the film collective RKSS, this second project after the well-received Turbo Kid brings back regular synthwave composer Le Matos (delivering another great electronic score here) for a film that really sticks in your memory, largely through its very unorthodox and haunting final act. Despite the title, the '80s angle is very downplayed here (no needle drops every two minutes) and seems to be justified mainly as a way to avoid dealing with cell phones, which would've otherwise turned this into a brief short film at best.
suspect that his wholesome and well-respected cop neighbor, Wayne Mackey (Mad Men's Sommer), could be the perpetrator and begins spying on him with binoculars. At first his attempts to convince friends Dale (Emery), Curtis (Gruter-Andrew), and Eats (Lewis) fall on deaf ears,
but they soon come around when a boy seen entering Mackey's house ends up as a missing person on a milk carton. Soon Davey's crush, Nikki (Skovbye), becomes involved in the mystery as well, with walkie talkes, flashlights, and reconnaissance missions used to gather evidence to the continued disbelief of any adults around them. However, Davey has no idea how much danger is really involved until it might be too late.
going overboard into mugging, echoing just enough of the '80s classic team teen movies to work and not recall any film in particular. It's also a stylish film with some of the darkest lighting in recent memory; red lighting is used to potent effect in a handful of
key scenes, and apparently all of the families here are trying to save energy with the lowest wattage light bulbs possible. As mentioned above though, it's really the ending that makes the film when the filmmakers suddenly bare their teeth and leave the viewer hanging on a deeply unsettling note unlike anything else out there.