He’s Out There
He’s Out There (2018), directed by Quinn Lasher and written by Mike Scannell, is a home invasion slasher film that combines classic horror tropes with a chilling woodland setting. Starring Yvonne Strahovski (The Handmaid’s Tale), the film centers on a mother’s fight for survival as a seemingly idyllic family getaway turns into a nightmare. With echoes of films like The Strangers and Hush, He’s Out There doesn’t necessarily reinvent the genre but delivers a tense, atmospheric ride packed with suspense and primal fear.
The story follows Laura (Strahovski), a mother who takes her two young daughters, Kayla and Maddie, to their remote lake house while waiting for her husband, Shawn, to join them later. The house, nestled deep in the woods, is a place the family has visited before—a setting meant for bonding and peace. But almost immediately, something feels off. The girls find a mysterious red string in the forest that leads to a disturbing tea party setup with eerie handmade dolls and a strange storybook filled with dark illustrations. Unbeknownst to them, someone is watching. And he’s been planning this for a long time.
As the day turns to night, things escalate rapidly. Laura begins to sense that they are not alone. The phone lines go dead. The car is sabotaged. And a masked intruder begins to close in. The man, silent and methodical, wears a grotesque homemade mask and seems fixated on tormenting the family, using psychological manipulation as well as physical threats. Unlike many slashers who kill indiscriminately, this killer appears to have a twisted sense of play, setting traps and engaging in cruel games that stretch out the tension.
Yvonne Strahovski delivers a strong and grounded performance as Laura, balancing vulnerability and strength as a mother trying to protect her children in an increasingly hopeless situation. The two child actresses also deserve credit, offering performances that feel natural and heighten the emotional stakes. The film’s pacing is taut, with the tension ramping up steadily as the family's situation deteriorates and escape becomes less and less possible.
Visually, He’s Out There makes excellent use of its setting. The isolated forest and dimly lit interiors create a sense of claustrophobia and exposure at the same time. The killer’s design—simple but unnerving—adds to the film’s atmosphere, avoiding over-the-top gore in favor of suspense and dread. The sound design plays a critical role, using silence and natural noises to build fear rather than relying on jump scares.
However, the film does follow familiar genre patterns, and seasoned horror fans may find the narrative somewhat predictable. Still, it’s executed with enough style and tension to keep audiences engaged. The film’s strength lies in its stripped-down, primal focus: a mother and her children, a home invaded, and a masked figure lurking just beyond the trees.
In the end, He’s Out There is an effective, nerve-wracking survival thriller. It taps into universal fears—of isolation, vulnerability, and the unknown—while delivering a tightly wound horror experience that fans of home invasion and slasher films will likely appreciate.
