A vivid sense of claustrophobia is formed with extreme and invasive close ups of the actors adding to the discomfort of the journey. Gradually, visibility is reduced to a narrow path of light between the shadow of arching trees which intelligently ensures that both the characters and the viewer have no idea of what lies beyond the blind corners. Lovering delivers a confident film, that appears firmly rooted in the traditions of British horror, from the incestuous community of The Wicker Man (1973) to the dark mysteries of Kill List (2011), In Fear favours psychological torment over monstrous Jeepers Creepers-style cop-outs and it does this with great assurance.
Ultimately, this human horror exploits the primal fears of its audience to breaking point and manages to demonstrates this with some wonderful, fast-paced storytelling. Although the film borrows from every cliche in the book, it rewrites them with the added paranoia of keeping the audience in the dark until the very end. The plot itself is so heavily involving that when Englert's Lucy screams "What do you want from me?" into thin air, it can be easily forgiven. The highly recommended In Fear is an achingly intimate thriller, that rewards an agonisingly white knuckled journey with a welcome rush of blood to the head.