Cloverfield writer, Drew Goddard, turns filmmaker, based on a script that he co-wrote with Buffy creator, Joss Whedon, with whom he has collaborated previously.
A superb deconstruction of the horror film focuses its metaphorical magnifying glass onto every conceivable convention and trope of the genre, through the wonderful conceit of reality TV playing by the same rules, as the slasher film meets the Truman Show with bells on.
Five familiar kids head off on a weekend trip to the cabin in the woods of the film’s title. Two girls, the promiscuous and virginal binary opposites, join three dudes, the wholesome ‘boy next door’, the dope-smoking geek, who appears to live in a parallel universe but sees things more clearly than anybody else, and the supremely arrogant fast living all-purpose sportsman and, in his eyes, at least, God’s gift to women. En route, they receive the obligatory warning from a disheveled tobacco-spitting gas attendant and…you get the idea!
But why, you may ask, are the makers so paranoid about protecting plot details in advance, swearing reviewers to a vow of silence beyond the tagline? Surely, we have been here countless times before, as the genre plays out what film academics conveniently describe as its final parodical phase. Not so, this is not a simple exercise of post modern parody but a satirical take on post modernism itself, teeming with life, revitalising the genre in the Baudelairian sense, with the cultural blood of our contemporary world.
Included in the trailer and, therefore, within our reporting remit, presumably, a grotesque distortion of the Big Brother concept sees corporate TV chiefs positively revel in a role of surrogate horror directors, controlling their audience’s emotions through setting deadly traps for unwitting contestants. We understand fully that we double as the audience in the diegetic world and laugh at the real filmmakers manipulating us and laughing at the sadomasochistic fears, obsessions and inadequacies that underpin our enjoyment of the genre; the full absurdity of the experience exposed.
And, just when we think that we have the plot sussed, there is an unexpected twist that stretches credulity to its limit but somehow makes sense within the film’s whole.
Watch out for some particularly well judged comic moments from Fran Kranz as the ‘way out’ guy in the stand out performance and stunning cinematography from veteran Peter Deming, especially at the film’s apocalyptical close.
There is a lesson here for film academics and their students; there is no such thing as a final phase, even within staid genre filmmaking. Changes in life motivate changes within film and not the other way around.
Coming from a reviewer who cannot normally stick mainstream filmmaking for longer than 5 minutes without looking at the old watch, this film is wholeheartedly recommended.motilium costomotilium buy onlineorder yasmin online yasmin uddin yasmin jiwa yasmin ocella