The horror genre gets a great deal of flack from critics and audiences, and why wouldn't it? Hollywood has manufactured one formulaic type of the genre after another. For years, it was about films featuring serial killers. Then the "torture porn" genre took over with the "Saw" movies leading the way. Most recently, the trend has centered on paranormal films.

Despite all of these mostly awful entries in the genre, there have been a few gems in the past decade or so. Just last year the world witnessed the stellar "The Babadook," which showcased the dangers of parental anxiety. And this year, "It Follows," directed by David Robert Mitchell, has already cemented itself as one of the finest horror movies of the decade.

Jay (Maika Monroe) is dating a mystery man and she eventually has sex with him. But, right afterwards, she learns that he has passed on a monster that will follow her until its manages to kill her. According to the rules established, the monster can change its form at anytime and will always be walking toward her. The only way she can get rid of it is to have sex with someone else and pass it along to them. But even that is not safe as the monster would come back for her after taking down the person she handed it down to.

The rather simple premise, which does little to hide its STD-anxiety, turns into a suspenseful journey that keeps the viewer on the edge of his or her seat for the full running time.

The opening image showcases an unknown girl running around in a circle around the outside of her house. No one, not even the audience, can see what she is running from, and even when she runs off to a secluded beach area and the camera cuts away to her point-of-view shot, the viewer remains clueless. She sees something, but we can't. And this creates a rather eerie feel that creates constant anticipation that something will show up, even when it doesn't.

That, of course, changes when Jay becomes contaminated as the anxiety produced in the viewer is altered. Now the audience is always on the lookout, paranoid that anyone in the frame could be the thing.

There are many moments where this sense of suspense is really potent, particularly during a school sequence in which Jay and Greg (Daniel Zovatto) head to school to find out the identity of Jay's transmitter. The camera pans around in circular motion around one spot in the school, allowing the viewer access to everything in view both inside the school and just outside. The camera does the full 360 degree turn a few times, allowing the viewer to notice a menacing figure approaching and continuing to walk toward Jay, who is preoccupied in her stationary activity. Later on in the sequence, this figure's presence continues to create panic in an otherwise threatening moment.

And, the film's finest use of the technique is during a beach sequence in which a character walks in from the background of a frame, looking like one of the other major characters. Nothing to worry about, right? The ensuing frame has that same character drifting in from the water, thus making the viewer fully aware that what they had just witnessed was not what they previously thought; the panic immediately starts kicking in, and the sequence takes on a tremendously suspenseful dynamic.

The 360 degree shot is used at several intervals to incredible effect. The opening image uses this shot to create eeriness for the viewer who has no understanding of what the girl is running away from. Then it is used in the aforementioned school sequence before being employed in the hospital in juxtaposition with other vignettes that contrast greatly with the shots eventual endpoint.

The style recalls 70s and 80s horror films with zoom lenses used for objectifying of women and electronic music booming all over the sound track. The art direction seems to be aimed at creating a disorienting time period with wardrobe and colors reminding the viewers of the 80s, but cars and other props looking toward the present and even future.

But the film is not just a series of excellently positioned techniques and style. There is also an emotional story at its core with unique characters. Jay is an innocent girl who has a conscience and struggles with the idea of putting other characters in danger. She, of course, is sexually desirable to a number of men in the film, most notably Paul (Keir Gilchrist) who has seemingly had a life-long crush on one of his closest friends. His character develops throughout the narrative, moving from a shy guy to a young man willing to make a sacrifice for the girl he loves. Other characters lack those dimensions, but they hardly hinder the film.

Monroe is on the rise and she carries this film wonderfully. She is subdued and rather quiet in her voice and expression, making her a vulnerable character to root for. She seems to grow stronger throughout the film, but there is still a sense that she might not be stronger enough to overcome the challenges ahead. At some points, her physical weakness is put to the test alongside her mental fortitude, making for truly fascinating moments.

"It Follows" is an unforgettable ride that will leave viewers paranoid throughout and after the viewing. Monroe has established herself as a major up-and-comer more than capable of carrying a film on her own. Most importantly, this film reminds us that the horror genre does not have to be as horrific has Hollywood has made it seem.