It Doesn’t Get Any Better Than This succeeds at delivering grounded and atmospheric horror on a low budget.
The film, which screened at the 49th Toronto International Film Festival (TIFF) from Sept. 10 to 15, is directed by Rachel Kempf and Nick Toti, who also play semi-fictionalized versions of themselves in the film. The film follows Kempf, Toti, and their friend Christian as they investigate and document a haunted house in a small town in Missouri.
While introducing the film, Toti spoke about how the lines between reality and fiction are not as clear as they may seem. The film follows through on this concept by blending fiction with archival footage of Kempf and Toti’s films from the last 20 years, creating a portrait of their real-life relationship. The result is a deeply personal film about the couple’s shared love of filmmaking.
It Doesn’t Get Any Better Than This features sequences that made me more tense than any other horror film in my recent memory. In one particularly tense scene, the group discovers the house is attracting attention from their neighbours, who seem to be in a collective trance. The effectiveness of the tension can be traced back to the creativity of the filmmakers.
Making impactful paranormal horror on a low budget requires a lot of creativity, and the filmmakers demonstrate an abundance of intelligent ideas. The house that Kempf, Toti and Christian explore is full of history and interesting details. As strange things start happening around the house, the film takes on an unsettling, dread-filled atmosphere. This plays to the strengths of a genre where authenticity and immersion are everything. Much like The Blair Witch Project, this film is able to do a lot with little resources.
Arguably, the most intense sequence in the film takes place when Kempf and Christian decide to perform a seance in the house’s attic. This scene showcases the directors’ ability to build and hold tension for an uncomfortable amount of time, combined with chilling, and sometimes overwhelming, sound design that feels like an assault on the senses. This sequence is effective because the events leading up to it feel grounded in reality.
Beyond the paranormal scares, much of the tension comes from the events of the film straining the relationship between Kempf, Toti and Christian. As the group goes deeper into their project to document the house, they debate about how far they’re willing to go. One member of the group wants to exit the project, while the others become increasingly determined to find answers.
During the question-and-answer period after the film, Kempf and Toti spoke about how some scenes were more planned out than others. Both the improvisation and writing on display feel so authentic, it’s difficult to distinguish which scenes were improvised and which were scripted. This resulted in conflicts between the three leads that felt awkward and painfully real.
The filmmakers discussed their choice to release the film exclusively in theatres, emphasizing the importance of setting boundaries throughout the production process. They ensured everyone involved felt comfortable, and one of the key boundaries they established was to tour the film exclusively in theatres rather than releasing it on streaming platforms.
While I understand their choice and vision, it doesn’t mean I entirely agree with their decision to only release the film in theatres. I recognize being in a theatre, surrounded by a crowd, enhances the experience of this film. However, as someone who’s a fan of the film, I would like for it to be as accessible as possible.
That said, if you’re a fan of found-footage horror, and this film is playing in a theatre near you, run to go see it. Not only might it be your only chance to catch it, but low-budget horror doesn’t get much better than this.
Tags
Film, Film Review, horror, TIFF
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