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The Cabin in the Woods
(2012)
    
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Director:
Drew Goddard |
COUNTRY
USA |
GENRE
Horror/Comedy |
NORWEGIAN TITLE
The
Cabin in the Woods |
RUNNING
TIME
95
minutes |
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Producer:
Joss Whedon |
Screenwriter:
Drew Goddard
Joss Whedon |
Review
When the slasher-in-the-woods subgenre
originated back in the 70s (with films like
Savage Weekend), and then was made
mainstream by the Friday
the 13th series, the concept of a bunch of good-looking
20-something actors playing jumpy and screaming teens attacked by an
often unseen menace lurking on the outside of a cabin, was fresh enough
to hold its own suspense and provide scares in and of itself. Such days
are long gone, however, and the makers of The Cabin in the Woods
have taken the consequences of it; the premise here is largely (actually
exactly) the same as in the aforementioned films, but to spice things
up, there's a parallel storyline of a group of operators in a Nasa-style
control room monitoring and predicting the teens' every move
–
and in a very cheerful manner at that.
"Say what?" you might be tempted to
utter when trying to make sense of it all, and that is of course
exactly how the filmmakers want you to react. This is the surprise
element, and those are crucial to every horror film. The problem with
this one is that while it is both amusing and wildly creative, it also
negates whatever effect the storyline one could have had. Granted, the
filmmakers' (Drew Goddard and Joss Whedon, who both worked on TV's
Buffy and the spin-off Angel) hypothesis is that storyline one
already is ineffective given the genre's history, but that doesn't
really help us much.
With a structure more akin to Robert
Rodriguez' From Dusk
Till Dawn, I believe The Cabin in the Woods could
have been effective as well as a great display of creativity, but as it
is now, it's a horror film for film students; a horror film speaking
only to
your mind and not your gut, which is much like porn speaking to your
sense of morals. With that said, the film is all the way both
well made and worth watching, and the unabashed, full-fledged finale
certainly does the film justice and gives it an integrity which modern
American films in the genre has been sorely lacking lately.
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