A family moves, but there is a maretta. The transfer is due to the inappropriate behavior of the teenage daughter Kinsey, a rebel without a cause, who was expelled from school. Parents Mike and Cindy hope that geographic relocation and a new school can help, but Kinsey, of course, disagrees. His elder brother Luke is also not favorable, he too was forced to change places and friends that he would not have wanted in the least. The goal is a little house made available by uncles Marv and Cheryl in a desolate housing complex in a wooded area. The family arrives in the night after a long drive.
While they are settling down, the four hear a knock on the door: she is a girl who asks if Tamara is at home. They tell her it must be wrong, there’s no Tamara in those parts. The mysterious girl leaves.
The family tensions are exacerbated: Kinsey, opposed and full of rancor, goes out to be on his own and his parents unleash him behind Luke to make him think. Left alone, the parents again receive the visit of the strange girl who asks (again) of Tamara. Curiosando in another house in the housing complex – desert – Kinsey and Luke find the murdered corpses of uncles. It is the prelude to a night of terror characterized by a ruthless and cruel siege.
Nominally a sequel to The Strangers – a film ten years ago written and directed by the then newcomer Bryan Bertino – it is essentially, as often happens, a remake with few variations, including above all a different management of the final part and the doubling of the characters object of the attention of the psychopathic assassins. The result is not transcendental. Like horrifying icons, the murderers with their face covered with childish masks (except for the killer family head who has a hood) work for the ability to make the contrast between fierce inhumanity and the symbol of play and innocence, frozen in the immota and disturbing fixity of the mask. But it is the management of the story that arouses little enthusiasm.