It Watches
It Watches opens to a car driving down the winding road, followed by two motorcycles. The bright daylight and smooth music feels different from other Dave Parker films, however his name is all over the credits with him writing, directing and editing the movie so I have great confidence and indeed, inside the car we got a couple of guys talking about working on a reality TV show. Characters in the entertainment industry doing scary stuff is a staple of Parker’s work and I feel like I’m back on familiar territory.
Arriving at the house where he is spending a getaway weekend, our main character, his arm in a sling, is struck by an eerie bout of déjà vu. We explore the house with its featureless walls and Gothic chandelier and he begins to video diary so as to let us know what exactly is going on here. Indeed, the entire film will be a mixture of found footage and traditionally shot – not necessarily leaning to heavily one way or the other.
Occasionally we get glimpses of cameras hidden in the corners, but it’s not until 18 minutes in that we really see someone is watching him through those cameras. They note the arrival of a woman to the house.
The peril and paranoia start up shortly after that my neighbor drops by and the girlfriend vanishes. The film really begins to gain speed just before its halfway mark turning into a frantic paranoid descent laced with off-kilter camera angles and occasional jump scares. This movie demands your attention. Frequently the creepiest elements happen in the background, and you’ll miss it if you’re not paying attention. This is not a 
film to put on for background noise or to watch while you do something else. With this movie, Parker shows s real interest in the subtle and in a more holistic approach to storytelling where things not front and Center are just as important as everything the camera is focused on.
If I have any complaints it’s that the twist at the end feels a little sudden and clumsy, but nevertheless it’s evidence of growth as a filmmaker. This is a maturation of artistry, and attempt to build suspense and create scarce without throwing gallons of blood on the screen. It’s a departure, but it’s a good one and I’m glad to see Parker showthese kind of chops – even though I kind of miss the monsters and blood.
I genuinely want to see more from this director, and I hope everybody reading this will run out and support his current projects as well as any upcoming ones because this is definitely one of those kind of directors horror really deserves
Argo City Comics 