Stephen had got as bored as the audienceīesides a co-worker who helps Mary out with things like groceries the only other window to the outside world is her online conversations with Dr. Is she overworked and stressed? Is she losing her mind? There could even be a more sinister, metaphysical force at play. What can it all mean? Could she be suffering from carer’s guilt? She loves her son but wishes he could have had a normal life and has a disturbing dream where she drowns him in the bath. She is tormented by dreams of Stephen being able to walk and speak again and she has almost ghostly, supernatural visions of Tom. Was she dreaming that he turned up at her house? Had he really gone missing? If he had then where did he go and did somebody take him? But nobody could have taken him because there’s nobody else in the house except for her and Stephen and it’s not like he can move anyway.Īfter alerting the authorities about Tom’s sudden appearance and disappearance Mary goes to sleep. However, when her back is turned a door slams leaving Tom trapped inside and when Mary gets to opening it Tom has vanished. She takes him inside and calls the local sheriff to tell him about Tom’s sudden appearance. However, later that night Mary hears a noise in her garage and when she investigates she finds Tom in the back of her car. She has formed a close bond with one of the children, a deaf boy called Tom ( Jacob Tremblay)and she’s sad to see him go after his last session but tries to be as professional as possible as she waves him off. Mary carries on working from home and cares for her son and has little contact with the outside world. Stephen is the only survivor but it leaves him without the ability to move or speak. Stephen and his father are having a heated argument when her husband loses control of the car and they get hit by a truck. Mary ( Naomi Watts) is a child psychologist who lives alone albeit for her paralyzed, brain dead stepson, Stephen ( Charlie Heaton) for whom she cares. Mary was sure her dreams meant something more, but what? If handled badly the audience will feel conned into watching something about one thing that turned out to be something entirely different and the tonal shift will be too much and will make the rest of the film laughable. If handled well the audience will be given time to adjust and the twist will become a natural progression of the film. This can be handled well or it can be handled badly. The twist may also happen halfway through the film and give the audience a different kind of film than what they were expecting. They can be lazily thought out as a last-minute twist to give the film some depth and meaning, to trick the audience into thinking it was more intelligent than it really was. Some films also have such intricate detail that an audience can see something new in it that they never noticed the first time and no matter how many times they see a film they can always find something new to enjoy. Some twists can be so good that an audience will want to see a film several times to see if they missed any clues during the film that may have led to that conclusion. The twist usually comes at the end of the film when the audience is still waiting for the unanswered questions that overshadowed the film or something happens right at the end of the film that leaves the audience shocked, surprised or in some cases satisfied that the film ended in the way that it did.
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