Well, she kills it. She then digs it up and kills it again and again. From the first moment alone in the car, glancing into the rearview and touching the lines on her face, Ryder gives one of the most intricate and nuanced performances of her career. Horowitz’s brilliant script co-written with Matthew Derby allows the actor a chance to summon genuine fury over getting old. The way the story puts pressure on Kath about aging is constant, from Greta assuming she and Max are married due to their age to the bouncer at a noise-core club believing she was there for her kid. Ryder unleashes a master class of disappointment with how life has turned out that many will instantly recognize. It is bitter, like really good coffee.
Mulroney also turns in some of his best work here, presenting himself as bearded, grey, and vulnerable. He has some great speeches about surviving that ring true. Teague and Tju do an excellent job representing the new generation with the goldmine of material the script gives them. While never sinking into parody, they keep up a stark contrast to the aging Gen Xers’ views and behavior.
“…Ryder unleashes a master class…”
Gone in the Night is a thriller, though the script is rich enough to stand alone as a thoughtful drama apart from the suspense elements. Horowitz follows Ira Levin’s story template, in that the first two acts appear normal, while the third act is really weird. The problem with the Levin method is that these movies (several adaptations of his novels became big movies last century) are defined by their secret finales, such as Rosemary’s Baby or The Stepford Wives.
As such, the pay-off has to be boss freak enough to make it worth your while for the first hour of pretending to be normal. The final act is monstro stretcho boss freak. By the end, you get to join the club that knows the title’s meaning. It’s a pretty sweet club. It is worth joining the first chance you get. Gone in the Night is a powerhouse creeper where one of the great actresses of her generation shows us how it’s done.
Gone in the Night (formerly The Cow) screened at the 2022 SXSW Film Festival.
"…the third act is really weird."
