Osgood Perkins might be my favorite horror director right now. 

While acclaimed primarily for his big two Vs — Visuals and Vibes — Keeper proves that he deserves kudos for what’s becoming two of his other trademarks.

The first is G-rated: he directs great performances out of his actors.

The second is closer to R:

Too many horror movies are better at foreplay than sex. Which is to say: the early suggestions of the horror to cum come promise more than the climactic payoffs ultimately deliver. 

But when Osgreat gets there, he fucking GOES THERE.

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There’s an old truism in Hollywood about directors and screenwriters that goes something like:

A great script can be turned into a not-great movie a whole lot easier than a not-great script can be turned into a great movie. 

In my old age, I’m starting to doubt the truth of this truism. Which of these two paths sounds like a likelier path to success:

Giving a good script to a great director…or giving a great script to a good director?

Exactly.

I’m betting on the great director every time. 

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Neon’s become a specialist in Keeper’s brand of horror, which I’d call half-elevated (and less self-serious?).

And also International Oscars players.