A father and a daughter find themselves threatened in their own home by two masked strangers. Based on those bare-bone facts alone, it’s easy to assume that Everyone Is Going to Die is simply a modern-day rehash of perennial home invasion classics like The Strangers or Funny Games. Even though horror can be the most daring, inventive, and socially relevant genre on the planet, it also falls prey to the same trappings as any other media category: churning out repetitive junk (and not always the entertaining, B-movie kind of junk). We assume we know how this tragedy will play out, and little about Everyone Is Going to Die‘s first third seems to disabuse viewers of that notion — although the atmospheric shot compositions, the sonically low drone of composer Si Begg‘s score, and the ruthlessly apprehensive pacing via editor Andy Edwards quickly correct any negative assumptions about the film’s quality.
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