The Real Nightmare Behind It Follows—and Its Creepy Sequel

This week we crack open It Follows, the modern slow-burn nightmare that turned a simple idea into pure anxiety. We dig into the real childhood dream that sparked the story, why the world of the film feels “out of time,” how the camera work makes you paranoid on purpose, and how Disasterpeace built that pulse-raising score in a wild three-week sprint. We also talk box office glow-up, the pool finale, and where things stand with the sequel, They Follow.

What we cover

• The original nightmare that inspired the “it just walks” concept
• Why the movie’s mix of decades (’60s houses, ’80s fits, fake e-reader) keeps your brain on edge
• Deep-focus shots, slow 360 pans, and how the camera turns you into the lookout
• Disasterpeace’s synth score: influences, the rush to Cannes, and why the music is “too loud” on purpose
• Michigan locations, the “border” of Eight Mile, and that perfect abandoned house layout
• Maika Monroe’s performance and the cast choices that made the entity feel personal
• Themes: inevitability, guilt, and dread that doesn’t care what year it is
• The finale’s “DIY” plan, the dad reveal, and why the ambiguity sticks
• Sequel check-in: They Follow updates and what “ten years later” could mean

Critic’s Crypt Ratings

• Ambrose: 4 out of 5 Coffins
• Kelly: 3.5 out of 5 Coffins

Spoilers
Yep, we discuss plot details, the pool scene, and the final shot.

Content warnings
Stalking, sexual implications, brief nudity, violence, anxiety themes.

Segment guide (no timestamps)
Cold open banter • What the curse is and why it works • Production design and that timeless vibe • Cinematography that makes you scan the frame • Disasterpeace’s score story • Detroit/Michigan locations • Cast notes and character beats • Finale breakdown • Sequel talk • Critic’s Crypt verdicts & sign-off

Grab-bag trivia

• The tall hallway scare was played by 7'7" Detroiter Mike Lanier.
• Yara reading The Idiot ties the movie to the fear of inevitable fate.
• That pink “seashell” e-reader was built for the film so nothing would date the story.

Transcript

[Ambrose:] Alright, welcome back, everyone. Tonight, we’re diving into one of the creepiest horror ideas of the last decade. You know, that slow-walking curse you end up with after a one-night stand. Now, that’s romantic, right?

[Kelly:] Oh yeah it’s real Hallmark material right there. But seriously, that whole concept is just... straight-up creepy. And we’re getting into all of it—the director’s real childhood nightmares, the insane three-week race to make that eerie music score, and what the lead actor really thinks about that long-teased sequel that just won’t die.

[Ambrose:] Yeah, it’s like the movie itself—always coming back. And you can’t shake it.

[Kelly:] Exactly. And here’s the thing—it’s not just scary, it’s smart. Like, it taps into that deep, anxious feeling you can’t quite explain. The kind that sticks with you for days.

[Ambrose:] Yeah, and it’s the kind of film that really changed how people saw horror after that. It sort of reset the whole vibe for the next decade.

[Kelly:] Right. So tonight, we’re talking about the unrelenting nightmare known as It Follows. Which premiered at Cannes Critics’ Week, and it just blew people away, and yeah it also gained massive buzz.

[Ambrose:] Oh yeah, and the cool part is that it wasn’t just critics talking—it actually pulled in real numbers. For a small indie horror film, that’s kind of wild. It’s the kind of success story that makes film nerds like us geek out.

[Kelly:] Oh, absolutely. Because it didn’t just do okay—it blew up. And it proved that you don’t need a giant Hollywood budget to freak people out or, you know, make a solid chunk of cash while doing it.

[Ambrose:] Right. And we’re talking what about a $1.3 million budget. Now, that’s basically lunch money in Hollywood.

[Kelly:] Oh yeah, it’s pocket change. And somehow it turned into, what, over twenty million? Now, that’s horror magic right there.

[Ambrose:] Exactly, and it’s proof that sometimes slow and steady really does win the horror race.

[Kelly:] Or at least, you know... slowly stalks it.

[Ambrose:] Yeah, exactly. And since we’re already in that stalker vibe, let’s get into how It Follows took one weird nightmare and turned it into one of the smartest scares in modern horror.

[Kelly:] Right. And it didn’t just creep people out—it killed at the box office. Like, $14.7 million in the U.S. and over $23 million worldwide. Not bad for a low-budget indie.

[Ambrose:] Yeah, that’s insane when you think about it. For a movie that cost barely over a million to make, it didn’t just walk—it ran all the way to the bank.

[Kelly:] Oh definitely, and it really proved people were hungry for horror that messed with your head instead of just throwing blood at the screen.

[Ambrose:] Oh, yeah, exactly. And that’s what makes it so effective—it’s simple, but it gets under your skin. So, if you haven’t seen it, or maybe it’s been a while, here’s the setup: it follows. A 19-year-old girl named Jay Height, who’s played by Maika Monroe, and who ends up cursed after, well… an intimate night that comes with way more baggage than she bargained for.

[Kelly:] Oh definitely, and the thing that’s after her, well it’s this shape-shifting creature. It can look like anyone. But the catch is, it only walks. Like, really slow and I mean really slow.

[Ambrose:] Yeah, like grandma-with-a-bad-hip slow… but somehow still terrifying. Because no matter how far you run, it just keeps coming, and you know it’s gonna catch up eventually.

[Kelly:] Exactly. But that’s the genius of it. Right? Because no matter how slow it moves, it never stops…EVER.

[Ambrose:] Yeah that’s just crazy, and the creepy part is, it might take a day or a week, but it’s always coming for you.

[Kelly:] Yeah, and that’s what makes it so creepy. You can leave town, change your name, whatever—but it’s still out there, walking straight toward you.

[Ambrose:] Exactly, it’s like a walking panic attack. Because no matter what you do or where you go, you can’t shake that feeling it’s still coming for you.

[Kelly:] Yep. But anxiety with legs.

[Ambrose:] Yeah, exactly—and the worst part is, there’s no real escape. Because even if you pass it on, once it kills the next person, it just circles right back to you. It’s like the world’s most depressing boomerang.

[Kelly:] Oh, so basically it just works its way back up the chain again. Like a cursed boomerang with serious attachment issues.

[Ambrose:] Exactly. So, you pass it on to buy some time, but if that person dies, well—your clock starts ticking again.

[Kelly:] Instantly, right?

[Ambrose:] Yeah, totally. And it’s such a wild concept that everyone tries to figure out what it really means. Like, is it about STDs? Or is it a metaphor for guilt, shame and, you know, the whole modern hookup thing? And people can’t help but dig into it.

[Kelly:] Oh yeah, for sure. And that’s the take everyone jumps to first. But honestly, it’s way simpler than that—and that’s kinda what makes it even creepier.

[Ambrose:] Exactly. And what’s wild is, the whole idea actually came from a nightmare the director, David Robert Mitchell, used to have when he was a kid—like, around nine or ten. So yeah, this movie literally grew out of childhood terror.

[Kelly:] Wow, so the whole story came straight out of his own nightmare?

[Ambrose:] Yeah.

[Kelly:] That actually makes so much sense. Because it totally feels like something a kid would imagine—just something creepy that never stops coming for you.

[Ambrose:] Yeah. And you can almost picture him as a kid, just lying there wide awake, like, “Cool, I’m never sleeping again.” It’s that perfect blend of childhood fear and grown-up terror.

[Kelly:] And that’s how you know it’s real horror—when it’s born from a nightmare you never really woke up from.

[Ambrose:] Yeah, exactly. Like, that’s wild when you think about it—a whole modern horror classic basically came from one kid’s bad dream that just never let go.

[Kelly:] Pretty much. And in his dream, just like the movie the thing was slow, but it could change shape. It kept turning into different people every time he saw it.

[Ambrose:] Yeah, that’s messed up. Like, it’s one thing to have something following you, but when it keeps swapping faces, like your mom, your best friend, some random dude on the street? Yeah, that’s a hard pass for me.

[Kelly:] Oh, and it gets worse. Because in the dream, just like the movie. He was the only one who could see it. And everyone else was just doing their normal stuff, like, totally clueless while this thing was coming right for him.

[Ambrose:] Yeah, that’s horrifying. Like, it’s not just the monster you’re scared of—it’s the fact that no one else believes you. And you’re screaming your head off while everyone else is just… grocery shopping.

[Kelly:] Exactly. And he said it wasn’t about violence or jump scares at all. It was that slow, psychological dread—the feeling of knowing something evil’s coming for you, step by step, and no one else even notices.

[Ambrose:] Yeah, that’s seriously creepy. But it makes me wonder—if that was the heart of his idea, then why add in the whole “sex passes the curse” thing later on? Like, wasn’t he worried people would take it the wrong way or even think it was just another horror cliché?

[Kelly:] Yeah, uh no, but that’s a really good point. And he actually explained that once. The whole sex part wasn’t even in the original nightmare—it came years later, like around 2011, when he started turning it into a script. He said it wasn’t meant as some deep message or moral thing; it was just a clever way to make that weird dream logic actually work on screen.

[Ambrose:] Oh, got it. So it didn’t start off as some grand metaphor—it just evolved into one?

[Kelly:] Exactly.

[Ambrose:] But if you think about it, that’s kinda genius, because it keeps the story grounded while you’re still feeling completely messed up.

[Kelly:] Oh yeah, totally. And he needed some way to actually pass the curse from one person to another. And he landed on using sex—not just because it’s shocking, but because it ties people together in this really personal way. It’s physical, sure, but it’s also emotional, which makes it way more intense.

[Ambrose:] Oh yeah, exactly. It twists something that’s supposed to be intimate and turns it into this messed-up survival tactic. Like, you’re trying to save yourself, but at the same time, you might be dooming someone you actually care about.

[Kelly:] Exactly. And Mitchell was super intentional about that. He didn’t want to give the monster a backstory or any kind of rulebook. No secret origin, no ancient curse, nothing like that.

[Ambrose:] Right, he kept it totally mysterious. Like no need for the usual “let’s read the creepy book and figure it out” moment. It’s scarier because you never really know why it’s happening.

[Kelly:] Exactly. He wanted the audience—and the characters—to feel totally trapped inside this nightmare that doesn’t make sense. There’s no way to study it, no pattern to break. And you just have to deal with it, step by step.

[Ambrose:] Well in my opinion it honestly works better. You skip that cheesy “let’s all sit around and explain the monster” scene that kills the tension. But instead, you just stay stuck in that slow-building panic.

[Kelly:] Yeah, exactly—and that sense of mystery doesn’t just stop with the creature. It kind of spreads through the whole movie. Everything feels slightly off, like it’s stuck somewhere between decades, and that just makes it even more unsettling.

[Ambrose:] Oh yeah, totally. And Mitchell worked with his production designer, Michael Perry, and the costume designer, Kimberly Leeds, to nail that vibe. They made the whole setting feel like this weird dream where you can’t quite tell what year it is.

[Kelly:] Exactly. And he called it “fascinatingly indeterminate,” which is the perfect way to describe It Follows—like, you’re awake, but you’re still dreaming.

[Ambrose:] “Fascinatingly indeterminate.” Yeah, that’s a fancy way of saying it feels totally unreal.

[Kelly:] Exactly! Because the whole mix of time periods just throws you off. Like, one second you’re looking at these old-school ’60s houses, then the characters are dressed straight out of the ’80s, and suddenly there’s a modern car sitting in the driveway. It’s like your brain can’t figure out when this movie even exists.

[Ambrose:] Yeah, and it’s like every decade threw a party and forgot to leave.

[Kelly:] Exactly. They built this weird world where nothing lines up on purpose. Like, one minute someone’s using a landline phone—

[Ambrose:] —and you’re like, wait, what year is this? I mean, who even still has one of those anymore? It’s such a small detail, but it totally messes with your sense of time.

[Kelly:] Hey, some people still do. But yeah, it’s so trippy—like, you’ll see these old cars from the ’70s or ’80s cruising right next to newer ones. And the wild part is, those vintage ones look spotless, like they just came out of a showroom yesterday.

[Ambrose:] Yeah, and that’s what makes it such a cool choice. It’s not like the characters are stuck in the past or anything—it’s more like time doesn’t even exist there. Every decade’s just kind of blended together into this weird, dreamlike version of reality.

[Kelly:] Oh yeah, for sure. And every shot just feels a little disorienting. Like the TVs are those old bulky ones with antennas and static, and the clothes don’t match any specific era. It’s all there just to keep you off balance the whole time.

[Ambrose:] Yeah, exactly. It’s like you can’t pin down when or where you are, and that confusion just adds to the creep factor. It’s not just the curse that feels off—the whole world does.

[Kelly:] Oh definitely. And even the stuff they’re watching on those old TVs are, like, classic monster movies. It’s such a cool little detail.

[Ambrose:] Yeah, and the wardrobe adds to that same weirdness. One character’s bundled up in a giant coat, and then someone else is walking around in a swimsuit like it’s summer. The weather makes zero sense, which somehow makes it even more unsettling.

[Kelly:] And my favorite example, though, is Yara’s little pink e-reader. You know, that clamshell-looking thing she’s always using to read The Idiot? It looks futuristic but also weirdly retro, like something from a dream thrift store.

[Ambrose:] Oh yeah, that fake flip phone-looking gadget? Which is totally not real. But Mitchell actually had it made from scratch. He wanted it to look like this mix between a 60s makeup compact and a modern e-reader.

[Kelly:] Right, because if they’d just thrown in an actual iPhone or something, it would’ve instantly dated the movie.

[Ambrose:] Exactly. That fake retro tech keeps you guessing. It feels familiar enough to believe, but just weird enough to make your brain go, “Wait, what year is this?”

[Kelly:] Oh yeah, and honestly, that’s such a smart writing move. Because by leaving out real tech—like no smartphones, no GPS, no internet—they never have to do that cliché horror bit where someone yells, “Oh no, there’s no service!” It just makes the world feel timeless and way more isolating.

[Ambrose:] Yeah, exactly. None of that “let’s run into the woods where the Wi-Fi mysteriously dies” stuff. It keeps the tension real, and it lets the fear do all the heavy lifting instead of some lazy excuse.

[Kelly:] Exactly. It completely skips the whole “no signal” cliché. The horror doesn’t come from being disconnected—it’s baked into the world itself. Like, it’s not a tech problem, it’s a reality problem.

[Ambrose:] Oh yeah, that makes sense.

[Kelly:] And because there’s no clear time period, the fear feels kind of timeless. It’s not just a story about teens in 2015—it hits on that universal human anxiety, you know that idea of something you can’t escape no matter when or where you are.

[Ambrose:] Right, and speaking of that whole “can’t escape” thing, the cinematography really puts you inside Jay’s head. You can actually feel her paranoia. Mitchell and his cinematographer, Mike Gioulakis, spent months figuring out exactly how to shoot it.

[Kelly:] Oh yeah, and those two go way back. Like they met in film school. And you can totally see the influences. You’ve got Hitchcock vibes from Rear Window, a little Cronenberg, some De Palma in there too.

[Ambrose:] Yeah, for sure—and you can feel all those classic slow-burn horror roots in it. The kind that makes you squirm before anything even happens.

[Kelly:] Totally. But the biggest influence that really nailed the look? Was Gregory Crewdson—the photographer.

[Ambrose:] Oh yeah, Crewdson’s work is insane. It’s like suburban horror disguised as fine art. And every photo looks peaceful, but there’s something just… wrong under the surface.

[Kelly:] Exactly. That’s what Mitchell tapped into. Crewdson takes these totally normal places. Like houses, lawns, backyards—and gives them this eerie, cinematic glow. And everything looks beautiful, but you can’t shake that feeling that something’s still off.

[Ambrose:] Oh yeah, and it’s like if you blink, the nice quiet neighborhood turns into a nightmare.

[Kelly:] Exactly. And that’s what makes It Follows so unnerving—they literally weaponized the camera.

[Ambrose:] Oh yeah, and they shot it with what they called a “cold camera,” using these super wide-angle lenses—like 18 millimeter stuff—that makes everything look stretched out and kind of off.

[Kelly:] Right, and it gives everything this strange, almost unnatural depth. Even normal spaces feel too open, like there’s way too much room for something to sneak up on you.

[Ambrose:] Exactly, and the wild part is how clear everything stays in focus. And that’s called deep focus, and it means everything—the front, the middle, the background—it’s all sharp at once.

[Kelly:] Yeah, and that’s such a smart choice, because it makes you scan the screen the same way Jay does. You can’t ever really relax, because at any moment, something in the background could start moving toward you.

[Ambrose:] Exactly. If they used shallow focus like most movies, you’d just watch the characters and tune out the background.

[Kelly:] But here, your eyes are darting all over the screen, constantly checking corners, trees, doorways, like—wait, is that someone walking?

[Ambrose:] Yeah, you end up doing Jay’s job for her. And the movie even turns you into the paranoid one.

[Kelly:] And that’s the brilliance of it—you’re not just watching her fear, you’re living in it.

[Ambrose:] Oh yeah, totally. It’s like you can’t relax for a second. Your eyes keep darting to the background, just waiting for something—anything—to start moving.

[Kelly:] Exactly. That constant tension, it never lets up.

[Ambrose:] And they really crank it up with those slow 360-degree camera shots. Like, that scene at the school where the entity shows up as the old woman in the hospital gown—man, that one gets me every time.

[Kelly:] Oh yeah, that scene is brutal. It starts off so quiet, but then you realize it’s just slowly walking closer in the background, and your brain’s like, “Come on, turn around already!” It’s that perfect mix of dread and frustration that makes you want to yell at the screen.

[Ambrose:] Right! And you’re basically stuck watching disaster roll toward them in slow motion, and you can’t do anything about it. It’s such a cruel, but brilliant move.

[Kelly:] Oh yeah, because you know what’s coming, but the characters don’t. So you’re sitting there, heart pounding, holding onto that dread way longer than you want to.

[Ambrose:] And it all plays out against this weirdly beautiful, decaying dream world. Which is wild, because they actually shot the movie in Mitchell’s real hometown.

[Kelly:] Oh yeah, they shot the whole thing in and around suburban Detroit, hitting real Michigan spots like Clawson and Berkley when they filmed it back in 2013.

[Ambrose:] Right, and they even used real landmarks—like the Redford Theatre. But the part that really stuck out to me was how they used Eight Mile Road.

[Kelly:] Oh yeah, exactly. Eight Mile’s not just some random street—it’s like this invisible line that separates Jay’s calm, suburban world from the rough, decaying parts of the city. And that contrast just adds another layer to the tension, like the danger isn’t only supernatural—it’s also right outside her neighborhood.

[Ambrose:] So kind of like the point where the “normal” world ends and things start to feel dangerous?

[Kelly:] Exactly. The movie keeps crossing that line—literally and symbolically. And it’s like the evil seeps through that border, and maybe even comes from it. Because it feels like a place where all the normal safety rules just… stop working.

[Ambrose:] Oh yeah, and then there’s that abandoned house the teens explore later. And it looks straight out of a haunted-house movie, but that was actually a real home, right?

[Kelly:] Yeah, it was! They found this old, beat-up place that was already scheduled to be torn down, and they totally lucked out with how it was built. The layout worked perfectly for those long, creepy tracking shots that make you feel like something’s always hiding just out of view.

[Ambrose:] What do you mean?

[Kelly:] Well, it was one of those old American Four-Square houses, you know? The kind where you can run in a full loop through all the rooms—living room, dining room, kitchen, and back around again. And that setup is perfect for this movie, because it plays right into that constant chase—you never really know what corner the thing’s gonna come from next.

[Ambrose:] Oh right. And it’s such a clever move, because the house itself kind of turns into part of the fear. The layout traps you, so it’s like the building’s working with the nightmare instead of against it.

[Kelly:] Yeah, and it’s perfect for something that’s just… always coming for you. And they can loop through the rooms over and over, trying to stay one step ahead until—bam—it crashes through a window. Because it’s was like the house was built to trap them instead of save them.

[Ambrose:] Oh totally. And it’s such a cool touch, because it keeps you tense the whole time. Every turn and hallway feels like it’s closing in, and you’re just waiting for something—or someone—to show up.

[Kelly:] Oh yeah, and that same trapped energy runs through the whole cast too—especially Maika Monroe as Jay Height. She is the movie. But funny enough, when she first read the script, she thought it was super weird.

[Ambrose:] Oh I get that. You know “A slow-walking shape-shifter that hunts you forever” isn’t exactly your usual audition material.

[Kelly:] Right? And she was super open about it too. And She even said she mostly took the role because she needed the paycheck you know for rent, food, and survival mode stuff. And she definitely didn’t think she was signing up for one of the best horror films of the decade.

[Ambrose:] Yeah, that’s wild. So what changed for her? Like, what made her go from “this is just another indie gig” to completely owning the role?

[Kelly:] Well, it was David Robert Mitchell. His vision just clicked with her. And once she saw his first movie, The Myth of the American Sleepover—which, by the way, is actually a solid film—she realized how detail-obsessed he was. That’s when she knew It Follows was something special.

[Ambrose:] Oh yeah, for sure. That one’s got a totally different tone, but you can still see his style all over it. It’s like he took that quiet, realistic vibe and twisted it into something way darker.

[Kelly:] Oh for sure. But it also showed he really understood character and atmosphere. Then when he showed her those insanely detailed storyboards—like, frame by frame—she realized he had this super specific vision. And he wasn’t just making another generic horror flick.

[Ambrose:] Right, it was something way deeper. But man, that role had to be exhausting. Being scared for, what, the entire movie? 

[Kelly:] Oh yeah.

[Ambrose:] And that’s got to mess with your head after a while. Right?

[Kelly:] Oh, totally. She even said it was one of the most intense experiences she’s ever had. Like, she was constantly crying, screaming, and stuck in that terrified mindset for weeks. It sounds absolutely exhausting—but also kind of perfect for the role.

[Ambrose:] Oh yeah and I can imagine. What that kind of fear on repeat, would do to a person.

[Kelly:] Exactly, and she even said she listened to super dark, unsettling stuff on her headphones between takes just to stay in character. And by the end, she called it a “genuinely dark place” to be in. But honestly, that commitment is what makes Jay’s fear feel so real.

[Ambrose:] Oh yeah, for sure. And she really nailed that balance between panic and realism. And speaking of Jay—there’s a fun little horror Easter egg in there too. Her full name’s Jamie, right? That’s definitely a nod to Jamie Lee Curtis. Wouldn’t you say.

[Kelly:] Oh, absolutely. It’s a total tribute to the original Scream Queen herself. Mitchell knew exactly what he was doing with that. And it goes even deeper—Jay’s sister’s name ties back to horror history too, so the whole thing kind of feels like a love letter to the genre.

[Ambrose:] Oh yeah, her sister’s name is Kelly—which, fun fact, is also Jamie Lee Curtis’s real-life sister’s name.

[Kelly:] Exactly! Those little details like that show how much Mitchell respects the genre. He’s pushing horror in a new direction, but he’s still giving nods to the classics that built it.

[Ambrose:] And speaking of the cast, we’ve got to talk about the rest of the crew. Keir Gilchrist as Paul—the loyal best friend. He’s the one who basically sacrifices himself by taking the curse for Jay.

[Kelly:] Yeah, Paul’s such an underrated character. And Mitchell actually said that Keir looked a lot like a younger version of himself, which adds this weird personal touch to it.

[Ambrose:] No way, really? That’s kind of insane. And it makes you wonder if he was sort of projecting himself into the story a little—like, putting his own insecurities or memories into Paul’s character.

[Kelly:] Right. And it almost feels like Paul is his younger self. You know, this awkward, well-meaning guy who’s just trying to protect someone he loves. But at the same time, he’s stuck reliving those same fears the director probably had growing up.

[Ambrose:] Now that’s deep. And then there’s Yara, played by Olivia Luccardi. She’s basically the brains of the group, always reading The Idiot on that weird little seashell E-reader thing.

[Kelly:] Yeah, Yara and her E-reader. But that book choice isn’t random—it’s not just to make her look smart. It actually ties into the whole theme of the movie.

[Ambrose:] Really? How so?

[Kelly:] Well, there’s this moment where Yara reads a line from The Idiot, and it’s honestly kind of haunting. She says, “The most terrible agony is knowing for certain that your soul will leave your body… and that this is certain.” It’s such a deep, heavy quote, but it fits the movie perfectly—it’s all about that quiet dread of knowing what’s coming and not being able to stop it.

[Ambrose:] Yeah, that word “certain” just hits hard—especially when you think about what’s hunting them in the movie.

[Kelly:] Exactly. Fyodor Dostoevsky who wrote the idiot was talking about the terror of knowing death is unavoidable, and Mitchell turns that idea into something physical. The entity is basically death itself—slow, steady, impossible to stop. You can’t kill it, you can’t talk it down, and you can’t escape it forever.

[Ambrose:] So the fear isn’t just that it’s coming—it’s that it will get you eventually.

[Kelly:] Yep. And that’s the core of the movie’s dread. It’s not about surprise or gore—it’s about inevitability.

[Ambrose:] Wow that’s good. And that’s such a cool way to put it. And speaking of that fear, let’s talk about how it actually looks. You know, the creature itself. The forms it takes are seriously disturbing, and honestly, the stories about how they picked some of those actors are just as creepy as what’s on screen.

[Kelly:] Oh yeah, especially the tall guy who walks into Jay’s room. That’s straight outta of a nightmare.

[Ambrose:] You ain’t kidding. And that actor was a local Detroit guy named Mike Lanier. He actually was 7 foot 7 and one of the tallest identical twins in the world.

[Kelly:] Now, that’s insane. And the weirdest part? His day job was totally normal, right?

[Ambrose:] Oh yeah, totally normal. He worked as an engine designer for General Motors.

[Kelly:] Wait—what? So this guy spends his days designing car engines, and then he just shows up as one of the scariest horror figures of the last decade?

[Ambrose:] Yep. 100% true. And he wasn’t even an actor—they literally found him by chance. It was a location manager who spotted him and was like, “Yeah, that guy’s terrifying, let’s use him.” He never read the script, he just showed up and did what felt scary.

[Kelly:] That’s amazing. And kind of hilarious at the same time.

[Ambrose:] I know, right? And get this—it took about 25 takes to get that scene right. Maika Monroe’s screams were so real that he said it actually freaked him out. He started getting chills because it felt like he’d actually become the monster.

[Kelly:] Oh, now that’s wild. Can you Imagine being 7’7”, knowing you already look intimidating, and having to hold that creepy stare while someone’s screaming for real. That’s next-level nightmare material.

[Ambrose:] Oh yeah, that’s total horror immersion for everyone on set. And Mitchell was super intentional about that kind of stuff. Every form the entity takes feels personal—it’s not just random scary people.

[Kelly:] Exactly. That’s what makes it so disturbing. The entity often looks like someone Jay or her friends actually know and sometimes even a family member. It’s like the horror literally comes from the people closest to you.

[Ambrose:] Oh yeah. And one of the creepiest examples of that is when the monster goes after Greg. It shows up looking like his own mom.

[Kelly:] Ugh, that scene gets me every time. It’s just… wrong on so many levels.

[Ambrose:] Yeah, because it’s not just scary—it’s psychologically messed up. And the movie takes that safe, loving relationship between a mother and son and twists it into something violent and horrifying. It’s like your worst nightmare mixed with deep emotional trauma.

[Kelly:] Right, Oh and it’s not just about being attacked either. It’s also about being betrayed by something familiar. It’s like your brain can’t even process it. The monster becomes this reflection of your own life, your own fears, and your own relationships.

[Ambrose:] Exactly. And speaking of creepy connections, there’s this weird bit of trivia about one of the later forms the monster takes—you know that scene with the naked figure on the roof of the abandoned house?

[Kelly:] Oh yeah, that silhouette against the sky? Super eerie.

[Ambrose:] Oh yeah, and that was actually played by one of the producers of the film.

[Kelly:] No way. Really? 

[Ambrose:] Yep, totally true. Mitchell actually used people connected to the production—like crew members, locals, even friends of the cast. And that made everything feel way more unsettling, because you couldn’t always tell who was just background and who might suddenly start walking straight at you.

[Kelly:] Now, that’s genius. And it adds this sneaky layer of unease, like even behind the camera, nobody’s safe from the curse.

[Ambrose:] Oh yeah, absolutely. And that whole eerie vibe—the tension, the dreamlike atmosphere—it all clicks because of the music. The score by Rich Vreeland, better known as Disasterpeace, pretty much defines It Follows. I honestly can’t imagine the movie without that pulsing, nerve-wracking music.

[Kelly:] Yeah, the score is basically the heartbeat of the whole movie. And the way he got involved is such a cool indie story. Mitchell actually discovered his work through the soundtrack for the video game Fez. If you’ve never played it, it’s this really unique puzzle platformer where you move through a world that flips between 2D and 3D. 

[Ambrose:] Oh yeah, I remember that one. The soundtrack was amazing—super atmospheric but still kind of mellow. Which makes it crazy that the same guy went on to create something this dark and intense for It Follows.

[Kelly:] Right? So Mitchell just cold-emailed him—like, total fan move—and was basically like, “Hey, wanna score my weird little horror film?”

[Ambrose:] Which is insane, because Vreeland wasn’t even that interested at first, right?

[Kelly:] Nope, not at all. He said the script felt strange and kind of anticlimactic just reading it on paper. And he didn’t see what the big deal was.

[Ambrose:] So he needed a little more convincing, kind of like Maika Monroe did.

[Kelly:] Exactly. And what really changed his mind was seeing Mitchell’s first film, you know The Myth of the American Sleepover. Well, after watching it, he realized Mitchell had this amazing sense for mood and character—even when the story itself was small and quiet. That’s what pulled him in, kind of like what happened with Maika Monroe.

[Ambrose:] Oh right. And once he signed on, the score basically became the film’s heartbeat. You can feel it creeping under your skin from the very first note, building that tension before you even realize it’s happening.

[Kelly:] oh definitely, but I’ve got to ask—what were they using before that? But, let me guess… John Carpenter, right?

[Ambrose:] Oh, totally.

[Kelly:] Oh I knew it, because that vibe is written all over it.

[Ambrose:] And it’s true. Carpenter was in there, for sure, I mean come on the guy basically invented horror music. But there were also some weirder influences mixed in also.

[Kelly:] Really? Like who?

[Ambrose:] Well for instance there was John Cage and Krzysztof Penderecki. Which is such a wild combo when you think about it. And you’ve got Carpenter’s pulsing 80s tension mashed up with Cage’s chaotic experimental noise and Penderecki’s nightmarish orchestral stuff.

[Kelly:] Wow, okay, that actually makes so much sense now. You can totally hear all of that in the final sound.

[Ambrose:] Oh yeah, that’s exactly why it works so well. Carpenter brings the rhythm and nostalgia, while Cage and Penderecki add that eerie, off-kilter energy. Vreeland layered those sounds with heavy synths and deep, atmospheric tones that feel weirdly alive—like they’re breathing right alongside the movie.

[Kelly:] Oh, yeah, that totally makes sense now. It’s electronic, sure, but it doesn’t feel like background music—it feels like it’s part of the world itself, like the sound is bleeding right out of the scenes.

[Ambrose:] Right. And the craziest part? That iconic score, you known the sound everyone remembers. Well, that was made in total chaos.

[Kelly:] Oh yeah, that was when they got the last-minute Cannes invite, right?

[Ambrose:] Yep. The movie got accepted super late, which was awesome news—but it left the team with only three weeks to finish everything. Like editing, mixing, the score. It was total madness.

[Kelly:] But yeah, that’s indie horror energy right there—pure panic and genius all rolled into one.

[Ambrose:] Oh, totally. And they were finishing everything at once—sound mixing, color grading, visual effects—you name it.

[Kelly:] And don’t forget the music. The entire score had to be written from scratch.

[Ambrose:] Oh yeah. And all they had was three weeks to record, and mix a score that people now literally study in film school. Like, that sounds impossible.

[Kelly:] Right, and Mitchell basically called up Vreeland and went, “Hey, can you score an entire horror movie in three weeks?” And somehow, the guy said yes.

[Ambrose:] I know, right? Total madman. He just dove in headfirst and wrote the whole thing in this caffeine-fueled blur. And some of the tracks were sent off just hours before the final mix—like, straight into the version that screened at Cannes.

[Kelly:] Now that’s insane. And talk about pressure.

[Ambrose:] Oh, and get this—Mitchell told the sound team to make the music too loud. Like, on purpose.

[Kelly:] Really? He actually said that?

[Ambrose:] Yep. His exact word was “bombastic.” He wanted the music to almost overwhelm you—to make you feel trapped in the dread, the same way the characters do.

[Kelly:] Wow, that’s smart. And the visuals are calm and quiet, but that score? It hits like pure panic. And you can feel your pulse speeding up with every note.

[Ambrose:] Exactly. The music doesn’t just play under the scene—it is the fear. It’s what makes your skin crawl even when nothing’s happening on screen.

[Kelly:] Oh totally. And talk about cutting it close—the final movie file, like the one they actually had to screen at Cannes, got handed to Mitchell in an airport parking lot right before he boarded the plane to France.

[Ambrose:] Wait, seriously? In a parking lot?

[Kelly:] Yep, it was the last possible second. With no test screenings, no polish, just pure chaos and confidence. And they basically trusted their gut and sent it off.

[Ambrose:] Yeah, that’s nuts. But hang on—we’re getting ahead of ourselves here. We still have to talk about that wild finale, because, man, there’s a lot to unpack there.

[Kelly:] Oh right, that infamous pool scene. Well, their big plan was to basically lure the monster into the water and then zap it with, like, every household appliance they can find, you know hair dryers, toasters, lamps, you name it. It’s like a horror version of a DIY YouTube experiment gone wrong.

[Ambrose:] Yeah, it’s so bad it’s kind of amazing.

[Kelly:] Right? And even Mitchell called it the “stupidest plan ever.” He said it’s basically something out of Scooby-Doo—and he meant that as a compliment.

[Ambrose:] And honestly, that’s what makes it great. You’re sitting there thinking, “This can’t possibly work,” but you’re still holding your breath just in case it does.

[Kelly:] Exactly. And Mitchell said that’s the point—it fits who these kids are. They’re not ghost hunters or demon experts. They’re just terrified teenagers trying to survive with what they’ve got.

[Ambrose:] Right, like they don’t have ancient spells or secret weapons. All they’ve got is a pool and a toaster.

[Kelly:] Oh yeah, exactly. It’s kind of ridiculous, but it also weirdly fits. Because honestly, that’s what a bunch of terrified teens would probably come up with. And that’s what makes it hit harder—it’s not heroic, it’s desperate. They’re just trying to survive something they don’t understand.

[Ambrose:] And the craziest part about this plan is that Mitchell actually hints early on that their “big plan” won’t work at all.

[Kelly:] Oh yeah! Remember when Paul and Jay are watching that old black-and-white monster movie on TV?

[Ambrose:] Vaguely.

[Kelly:] Well, there’s this throwaway line that says, “You can’t tap enough electricity to get a strong enough charge.” It’s a total blink-and-you-miss-it foreshadowing.

[Ambrose:] No way. So he basically told us it was doomed before they even tried?

[Kelly:] Yep. He was winking at the audience the whole time, like, “Nice try, kids. This plan’s toast.”

[Ambrose:] Oh yeah, but the most disturbing part of that whole ending isn’t even the plan—it’s what the thing turns into when it finally attacks Jay in the pool.

[Kelly:] Oh, right. It shows up as this middle-aged guy, and if you’ve been paying attention earlier, you realize he’s in one of the family photos at Jay’s house. So yeah… it’s heavily implied that it’s her dad.

[Ambrose:] Which makes that moment ten times darker. And then afterward, when Kelly asks Jay what it looked like, Jay just says, “I don’t want to talk about it.”

[Kelly:] Oh yeah, and that silence says so much. It’s not just fear—it’s like she’s trying to protect her sister from something deeper. Like whatever that thing took the form of, it wasn’t just random. It was personal.

[Ambrose:] Exactly. It’s the film connecting the monster to something real. Like grief, trauma, maybe even some guilt. Because the horror isn’t just what’s chasing her, it’s what she’s been running from all along.

[Kelly:] And that’s what makes it hit so hard. The monster doesn’t just scare you—it understands you. It digs into your worst memories and turns them against you.

[Ambrose:] Oh yeah, exactly. And that ending—whether it’s really over or not—doesn’t even matter. The damage is done. And Jay’s never walking out of that pool the same again.

[Kelly:] Right, and even after everything. You know the bullets, the pool, all of it—the curse clearly isn’t gone. That final shot says it all. You see Jay and Paul walking down the street holding hands, and way off in the distance, there’s this blurry figure just… following them.

[Ambrose:] Oh right, and it’s the perfect mix of hope and pure dread. You want to believe they’re safe, but deep down, you know they’re not.

[Kelly:] Exactly. And that’s what makes it such a killer ending—pun intended. But it’s haunting because it never gives you closure. It just leaves you sitting there like, “Wait… is it still coming?”

[Ambrose:] And that’s why fans were kinda split when the sequel got announced. Some people were pumped, others were like, “Why mess with perfection?”

[Kelly:] Yeah, I totally get that. Even Maika Monroe admitted she wasn’t sure about returning at first. She felt like the original stood on its own and didn’t really need a sequel—but eventually, the story pulled her back in.

[Ambrose:] Yeah, that makes sense. You don’t wanna mess with something that already hit perfectly. So I have to ask. What was it that convinced her to come back?

[Kelly:] Well, surprisingly it was David Robert Mitchell. He came back to direct and handed her the new script. And once she read it, she said it completely won her over, even called it “incredible.”

[Ambrose:] Oh, alright, now you’ve got my attention. If it’s anywhere near as clever and eerie as the first one, then yeah, we’re probably in for something really good.

[Kelly:] Oh yeah, I feel the same. And honestly, the fact that Maika Monroe changed her mind and decided to come back after all that hesitation. Now, that says a lot. Oh, and yeah, the sequel’s called They Follow, right?

[Ambrose:] Yep—plural this time. They Follow. It was officially announced back in October 2023, with both David Robert Mitchell and Maika Monroe confirmed to return. But here’s the thing…it kinda hit a bit of a snag. And it was supposed to start filming in early 2025, but as of late October 2025, Maika said production’s been delayed because of some scheduling conflicts. And they’re planning to start as soon as that’s sorted out, though.

[Kelly:] Oh man, that’s got to be rough. But hey, at least it’s still happening. And I heard it will be taken place ten years later. Which is such a cool idea. Like, we’re gonna see what it actually does to someone who is living with that kind of fear for a whole decade.

[Ambrose:] Oh yeah, exactly. Maika Monroe said the sequel’s gonna feel really different, but it still keeps that same slow-burn, and psychological dread. She even described it as “bigger and darker,” which sounds like things are about to get seriously twisted.

[Kelly:] Oh yeah, “bigger and darker” always sounds awesome until suddenly it’s Fast & Furious: Demon Drift.

[Ambrose:] True. But she clarified it’s not about making it louder or flashier—it’s still focused on Jay’s mental state. Like, what happens to someone who’s been looking over their shoulder for ten straight years.

[Kelly:] That’s such a great angle. It sounds heavier, but in a good way. And if they pull that off, it could actually end up scarier than the first one.

[Ambrose:] Oh yeah, totally. I just hope they stick with that same raw, psychological dread instead of turning it into some over-the-top action horror thing that tries to explain everything.

[Kelly:] Right? And the mystery is what makes it work. Like, the not knowing is scarier than any answer they could give.

[Ambrose:] Exactly. That’s the genius of It Follows. It never tells you what “it” is, and that’s what makes it so terrifying. You can pass it on to ten other people, but the second one of them dies—it’s back on you. It’s like this endless, twisted game of tag you can never win.

[Kelly:] Oh yeah, and survival’s not really survival—it’s just buying time. Because you can’t stop it, you can only share the misery.

[Ambrose:] That should’ve been the tagline: “Pass it on, but not for long.”

[Kelly:] Oh man that is so perfect. But seriously, that’s what makes it stick with you. It’s not about who dies next—it’s about knowing that no matter what, it’s still coming.

[Ambrose:] Oh yeah, exactly. The clock’s ticking, your battery’s dying, and something’s still heading your way…And with that being said it’s time to grab your flashlight—

[Kelly:] —Oh and maybe a backup one too, because let’s be honest, you never remember to charge the last one.

[Ambrose:] Okay, that’s fair. And hey, if you hear footsteps behind you, just remember—it might be “The Monster” or it might be your DoorDash finally showing up. But either way, don’t look back.

[Kelly:] Oh right, finish the fries first, then panic. Oh that’s how it goes. Got it.

[Ambrose:] Hey priorities, right? But seriously, that’s the vibe of It Follows—no matter how far you run, it’s still creeping closer.

[Kelly:] Which means it’s that time again.

[Ambrose:] Oh right. It’s time to drag this movie down into the depths—

[Kelly:] —and put It Follows to the ultimate judgment in the Critic’s Crypt.

[Ambrose:] Hmmm, yeah, it kinda feels like we’re playing Death himself right now, with a clipboard in hand, and checking who’s next on the list.

 [Kelly:] Hey, somebody’s gotta do it. Might as well be us.

[Ambrose:] Fair enough. Alright then, let’s head down into the Crypt and see if It Follows still has the power to haunt us… or if it’s finally run out of time.

[Ambrose:] Ok then. Looks like we’ve made it back down into the Crypt. Now, it’s time to see if It Follows still has the power to haunt us… or if it’s finally run out of time.

[Kelly:] Yeah, well, just so we’re clear—I’m not checking behind us. If that thing’s still wandering around down here, you’re the one it’s catching first. I’ve seen what happens when people break the rules.

[Ambrose:] Oh you have, have you. Well, then rule number one—don’t have sex, and you won’t die. It’s basically the golden law of horror movies. You’d think people would’ve learned that by now.

[Kelly:] Right, and rule number two—maybe don’t vacation near a creepy, half-empty suburb in Michigan. Because as you can see nothing good ever happens there.

[Ambrose:] That’s true. I mean, if you see someone slowly walking toward you from a hundred yards away, just get in the car and go. No questions asked, not even “is that my mom?” Nope, just drive.

[Kelly:] Exactly. And that’s why It Follows hits so hard—it turns something simple into a pure nightmare. So, let’s talk about what this slow-motion stalker flick actually does right.

[Ambrose:] Ok, I’ll go first. For me it’s the atmosphere. Every frame feels off, it’s like a dream that’s about to turn into a nightmare. The mix of old tech and weirdly timeless settings that’s a genius move only because it keeps you on edge throughout the movie.

[Kelly:] Oh yeah, for sure. It’s the way it plays with time and it messes with your brain. First you’ve got 70s cars, 80s clothes, and then some kid’s reading on this tiny pink clamshell e-reader. It’s familiar and totally wrong at the same time.

[Ambrose:] And let’s not forget that score. Man, that score makes the movie. Disasterpeace took synth music and made it crawl under your skin. It’s haunting but somehow still catchy.

[Kelly:] Right? It’s like the music’s alive—it pulses and hums right along with the tension. You could mute the whole movie and still feel scared just listening to that sound.

[Ambrose:] I’ve got to give credit to Maika Monroe. She nails that “barely holding it together” vibe—you can tell she’s terrified, but she’s still pushing through, trying to survive no matter what.

[Kelly:] Oh totally. She brings this grounded, quiet panic that feels real. You’re rooting for her the whole time, even when you’re yelling, “Turn around!”

[Ambrose:] And I love that it doesn’t explain everything. There’s no cheesy monologue about “the curse.” You’re just as confused and helpless as the characters—and that’s scarier.

[Kelly:] Oh definitely, and it trusts the audience. You get just enough to piece it together, but never enough to feel safe. That mystery keeps you hooked.

[Ambrose:] Isn’t that the truth. Alright, let’s talk about the cons.

[Kelly:] Oh, I’ve got one right off the bat. For me it’s the pacing. Now don’t get me wrong, I love a slow burn, but there are moments that it just really drags. Like, we get it, it’s walking…but, can we speed that up just a little? Or even better show it and then switch scenes. Like show one scene and then cut back and forth instead of just sitting on it walking slow in which my opinion you can barely see it walking. 

[Ambrose:] Oh yeah, “It Walks Very Slowly” doesn’t quite have the same ring. But I agree—it could’ve used a few tighter edits. There’s tension, and then there’s filler.

[Kelly:] And sometimes the dialogue feels flat. The teenage conversations don’t always sound natural, especially next to how stylized the rest of the movie is.

[Ambrose:] Oh yeah, I totally get that. It’s like the acting and the atmosphere are spot on, but then a few lines come out kind of clunky, like they don’t quite match the vibe the rest of the film’s going for.

[Kelly:] And maybe, just maybe, the ending could’ve gone bigger. I love the ambiguity, but that pool scene with all the appliances? It’s half “terrifying climax,” half “Home Depot clearance sale.”

[Ambrose:] Right? Like, “Quick, grab the toaster of destiny!” It works thematically, but yeah, it borders on goofy if you think too hard about it.

[Kelly:] Exactly. Still, the concept is so strong that even the weird stuff kinda works.

[Ambrose:] Oh yeah, it’s one of those films where the flaws actually make it more memorable.

[Kelly:] Oh yeah, exactly. It’s not perfect, but that’s kind of what gives it its charm. Right. Alright, I think it’s time for us to give our final verdict.

[Ambrose:] Okay, for me It Follows gets 4 out of 5 Coffins.
It’s eerie, stylish, and still original even after all these years. A few pacing hiccups, but man—it really sticks with you after it ends.

[Kelly:] That’s so true, but i’m giving it 3.5 out of 5 Coffins. And your right, it’s clever and beautifully shot, but I wish it packed just a little more punch at the end. Still, it’s one of the best modern horror concepts we’ve seen to date.

[Ambrose:] Okay. So, not quite dead yet, huh?

[Kelly:] Nope, it’s still walking. Slowly… Very slowly. 

[Ambrose:] Oh great, that just gives us just enough time to get out of here.

[Kelly:] Too late. It’s already behind you.

[Ambrose:] Oh, of course it is. Well, can you stall it…I’m just going to grab the flashlight.

[Kelly:] Yeah, nope, not happening! You can play hero if you want, but I’m already halfway to the exit!

[Ambrose:] What—no, wait! Don’t leave me down here alone! I am not dying second in this movie!

[Kelly:] Then move faster! You’re walking like the thing already got you!

[Ambrose:] I’m trying! These stairs weren’t built for cardio, okay?

[Kelly:] Oh sure, blame the stairs—classic horror victim move.

[Ambrose:] I’m not a victim, I’m—okay, maybe a little bit!

[Kelly:] Oh my god, did you seriously just look back?! I told you not to make eye contact with it!

[Ambrose:] I wasn’t looking—I was just checking if it was gaining on us! That’s called strategy!

[Kelly:] Yeah, well, tell that to whatev—