Afraid to admit I thought the last twenty minutes go pretty hard, save Mariel Hemingway’s character being flown into space without a space suit and being fine, then just disappearing.
As a series of disparate musings on industrial decay, structural rot, civic mismanagement, teenage agency, death, loss, family, all these as self-fulfilling prophecy, and a genre morality ideated through finessed genre tropes and personal philosophy, this is very disparate, but so much as to be the survey and the total, untempered internalization of the filmmaker's carefully bred artistic personality (that is, "aesthetic personality") that it is. Hooper has always been something of a "shaggy dog" filmmaker, even when putting forth…
"It's much more complex than it seems. I tried to establish some kind of motif that carries throughout the show - sometimes that's actually more important than what you're actually showing. This has a lot to do with lights and shadows: it takes place in a single night, from dusk to dawn. And all the characters bring with them some sort of history, they're not just cardboard characters walking into a slaughterhouse." - Tobe Hooper
I'm no longer convinced of…