Year – 2020
Decade – 2020s
Cinematographer – Greta Zozula (Instagram)
Director – Jonathan Milott and Cary Murnion
Aspect Ratio – 2.40
Genre – Horror; Home Invasion
Camera – Alexa Mini
Lenses – Cooke Anamorphic/i as the main lenses;
45-90mm Hawk zoom for most scenes with Dominick (Kevin James);
24-290mm Angenieux zoom for a few long lens and zoom shots;
50mm Kowa for some deep woods handheld work
Format – Digital capture with Super35-sized sensor; Anamorphic lenses
Categories – Close-Ups; Wide Shots; Car shots; Mirrors/Reflections; Shafts of Light; Frames Within Frames; Unusual Camera Perspectives; High and Low Angles; Night Exteriors; Silhouettes
A gory home invasion thriller described by its co-directors as “an ultra-violent Home Alone,” only with precocious Macaulay Culkin replaced by rage-filled teen Lulu Wilson and the Wet Bandits now a gang of Neo Nazis led by Kevin James. As studio tentpoles abandoned the summer movie season amid nationwide Covid-19 shutdowns, Becky filled the void with an extended drive-in theater run, which included a weekend in June as the top grossing film in the country.
Becky opens with a Hitchcockian bit of doubling, matching the frames of Becky’s world with that of the film’s incarcerated villains to link to characters.
One of my favorite bits in the film – the camera dollies back and forth between the characters, using a foreground tree as an element to wipe the frame and blend the shots. Those blended dolly shots keep punching in closer and closer until reaching a shot where the characters share the same frame, inches apart.