![]() Do not use an Oxford Academic personal account. When on the society site, please use the credentials provided by that society.If you see ‘Sign in through society site’ in the sign in pane within a journal: Many societies offer single sign-on between the society website and Oxford Academic. Society member access to a journal is achieved in one of the following ways: If you cannot sign in, please contact your librarian. If your institution is not listed or you cannot sign in to your institution’s website, please contact your librarian or administrator.Įnter your library card number to sign in. Following successful sign in, you will be returned to Oxford Academic.When on the institution site, please use the credentials provided by your institution.Select your institution from the list provided, which will take you to your institution's website to sign in.Click Sign in through your institution.Shibboleth / Open Athens technology is used to provide single sign-on between your institution’s website and Oxford Academic. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Even after the lights came on in the theatre, “Lights Out” kept me questioning what I should really be scared of when I turn off the lights.Ĭontact Liz Ketcham at lgketcham ‘at’ gmail.Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. Bello’s diluted emotions, in contrast with the intensity of Palmer’s, make the wounds seem deeper and Sophie’s depression more heartbreaking, leading us to a disturbing ending that’s fitting, yet slightly unsatisfying. Grounded by dark underlying themes, “Lights Out” is a pleasant surprise. Without him, the audience wouldn’t have a breather between rapid-fire scares and the film would lack the compassion that separates it from all-scare-no-plot thrillers. He acts as a grounding point in the story – the outsider looking in, letting the family know they need to heal. Humor comes from Bret, who always manages to scramble away just in time. The shaky camera, canted shots and musical crescendos get hearts racing the contrast of dark and light on the big screen is enough to make viewers thankful for the small lights on the theatre floor. Their motivations and inner conflicts are revealed as they help each other and rebuild their crumbling family.īy using light and shadow effectively and leaving little to CGI, “Lights Out” is suspenseful and eerie without unnecessary gore. In “Lights Out,” characters are anything but one-dimensional. The harm inflicted – presumably by Diana – on Sophie’s children prompts audience members to consider if Diana is actually real or if Sophie herself is abusing her children.īy weaving this social commentary into the film, writer Eric Heisserer makes the characters more relatable than most that appear in the horror genre. This makes Diana stronger, hurting Martin and Sophie. ![]() Martin’s compassion for his mother never wavers, but Rebecca’s initial willingness to abandon her mother only makes Sophie’s depression worse. Not content to exclusively torture Sophie, Diana persistently haunts Martin and Rebecca. ![]() By illustrating the physical struggle between a family and depression, the film shows, in an exaggerated manner, what depressed people and their families face. In a real-life context, however, Diana is a figurative representation of Sophie’s inner demons and depression. In the film, Diana appears to be capable of causing physical harm to people. Rebecca and Martin, with assistance from Rebecca’s boyfriend Bret (Alexander DiPersia), mend their family bond as they try to help Sophie overcome her depression and Diana. The creature’s name is Diana (Alicia Vela-Bailey) and she haunts Sophie when Sophie is at her worst – the kind of imaginary friend you don’t want hanging around. After his father’s mysterious death, Martin has to confront a demonic entity that follows his mentally unstable mother. “Lights Out” follows a broken family, Rebecca (Teresa Palmer), a fiercely independent 20-something, her little half-brother, Martin (Gabriel Bateman) and their mother, Sophie (Maria Bello), who has been battling depression. With acclaimed producer James Wan (director of “The Conjuring” and “Furious 7”) helming the project, “Lights Out” goes deeper than an average summer thriller, carrying a meaningful storyline and high-wattage scares. At first glance, the concept seems relatively mundane, but “Lights Out” explores more than a light switch, tackling themes like mental illness and domestic abuse.
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