Cinema Review - The Cabin In The Woods

Previously Published on Front Room Cinema in 2012

With The buzz surrounding The Cabin in the Woods increasing day by day, Tom headed to a preview screening to find out exactly what was lurking deep in the heart of the forest...

From the writer of Cloverfield, Drew Goddard, comes this latest horror that on first glance may appear to be a run of the mill treatment of a tired genre but delve under the surface and you will find that there is a lot more to this film than anyone could be able to predict. Every so often a horror film comes along that completely turns the genre on its head, and it would be high praise to say that the Cabin in the Woods does just that, but there is no denying that it comes pretty damn close.

I went in to the film having not seen a trailer or read anything about it and I can highly advise that you do the same. For this reason, I want you to know that I have purposely avoided including any spoilers in my review and will not give away anything that would detract from your enjoyment of what was one hell of an experience. Not since Kick-Ass have I left the cinema feeling so pumped and overwhelmed by what I had witnessed on screen and although it isn't quite a horror classic, fans of the genre are sure to appreciate what is a devilishly fun ride from start to finish.

Beginning with one of the most overused cliches in horror today, the film starts when five friends venture out to a cabin deep in the heart of the woods with plenty of booze and drugs to kick back and make the most of their weekend. As their story unfolds we are also introduced to another set of characters, and it is not until later on in the film that we realise how the two are connected but it is a great piece of writing and the demented geniuses behind this screenplay, Joss Whedon and director Drew Goddard, who have been involved with Buffy, Serenity, Cloverfield and the forthcoming Avengers film, have invented one hell of a twisted creation.

The Cabin in the Woods is full of nasty shocks and surprises that are guaranteed to delight horror fans, and it is impressive that the countless nods to classic films of the genre never feel tired or outstay their welcome. Full of clichés but self-aware, the film shifts in tone from full on horror to the black humour of the recent comedy horror outing Tucker and Dale vs Evil without losing any of its impact. There have been a number of comparisons to early Raimi which are well deserved although I would argue that the style has far more in common with the full on depraved insanity of his recent outing Drag me to Hell, as for the majority of the screening I was sat there with a big goofy grin on my face that refused to subside.

I couldn't help but notice that the score sounded remarkably similar to that of the Descent in some of

the more serious scenes, where the focus was on scares rather than laughter, and wasn't surprised to find out that it was actually composed by the same artist, David Julyan. It really aided the transition from the more humorous elements to the bleakness of our protagonists' struggle to survive and the constant shift between the two extremes of the horror genre rarely feels so natural.

There was a certain moment in the film when I anticipated what was going to happen shortly before the events unfolded on screen and it completely surpassed my expectation of how it would pan out. As a huge horror fan it felt like all of my nightmares had come true but I was very glad that they did. Although there are a few scares in the film they are unlikely to leave a lasting impression on the audience as it is the story that really leaves an indelible footprint on the mind. I still can't get over how the film-makers managed to convert what may have sounded like a massive gamble on paper into what could possibly be a contender for one of the best horrors of 2012.

I could probably go on all day about how impressed I was with The Cabin in the Woods although people unfamiliar with the horror genre probably won't take as much from the film as those who love nothing more than to be scared. It does borrow heavily from those that have come before but also adds so much more that The Cabin in the Wood even manages to transcend the majority of its influences which is very impressive considering a large portion of the film revolves around mocking the cliches of the genre.

I am unsure whether the film will hold up as well on a second viewing with prior knowledge of the eventual outcome but there are still numerous sequences that I cannot wait to view again. An essential film for horror fans and a recommended viewing for everyone else, make sure you take a trip to the cabin when it hits cinemas, I guarantee that you will have no idea of the horrors that are waiting in store for you.

4/5

Blu-Ray Review - The Shrine

Previously published on Front Room Cinema in 2011

As you read the synopsis of The Shrine you could be forgiven for thinking that you have seen this film countless of times before; the usual horror cliche of a group of young journalists investigating a spate of mysterious disappearances in a Strange European location no longer sounds appealing to me in a world where Hostel part three exists. Far from being your typical gruesome and pointless torture porn horror, The Shrine throws up enough unexpected turns to keep your eyes glued to the screen and whilst none of the ideas are particularly new or inspiring, the way they are included in the story is original enough to make this an enjoyable watch for horror fans.

A couple on the rocks; Carmen (Cindy Sampson) and Marcus (Aaron Ashmore), are joined by Carmen's journalist sister, Sara (Meghan Heffern), to see if they can get the scoop of a lifetime to boost her ailing career, and set off to Poland unaware of the dangers that await them. Hostile villagers, bizarre smoke above the forest and terrifying statues are just the start of the unnerving situations the group encounter and, up until the final part of the film, the audience are left in the dark as to the villager's motives. All three of the characters make a number of questionable decisions, as is usually the case with horror films, but thanks to the story's unique approach to the subject matter of bizarre cults I found myself able to overlook these minor flaws.

Some of the acting does lack conviction but for the most part the performances are solid enough to be believable. Trevor Matthews stood out as an actor to watch for the future, his role as the steadfast villager who warns the trio to leave the area adds an air of menace to the proceedings as he is constantly bristling with aggression and at times he appears genuinely intimidating.

I'll admit that there were a few startling moments that did cause the occasional shudder, and people who are easily scared would do well to watch The Shrine with company, or at least a cushion or two to hide behind. If however you are like me and thrive on a good scary film, make sure that your surround sound is turned up loud - the creepy atmospherics add to the build up of tension and enhance the films eerie feeling that will leave you unsettled and on edge.

There have been a number of comparisons made to all kinds of horror films ranging from The Wicker Man to The Evil Dead but The Shrine does have enough innovation to stand on its own two feet. Jon Knautz who wrote and directed The Shrine has borrowed ideas from the classics and given them a fresh spin to ensure that this is something that horror fans will not have encountered before. In a world full of endless remakes and rehashed ideas it is great to see an innovative horror film and although it is not quite the classic it could have been, The Shrine is certain to obtain a cult following.

3/5

New Release - We Are Still Here

Escaping to an old house on the outskirts of a sleepy village seems to be the best move for grieving couple Paul (Andrew Sensenig) and Anne (Barbara Crampton) Sacchetti after the untimely death of their teenage son in a car crash. Anne is certain that his presence is felt in their new home and an unannounced visit from their eerie neighbours, who regale the Sacchetti's with the history of its previous occupants, only serves to exacerbate these thoughts that something is not quite right with their house. Against Paul's better judgement, Anne invites the parents of her dead son's best friend to stay in the hope that his mother, May Lewis, who is a practicing spiritualist, can shed some light on the strange occurrences that are troubling the household.

Much like Ti West's excellent slow burn horrors The Innkeepers and The House of the Devil, We are Still Here tips its hat to seventies genre films that rely on mood and atmosphere to build up an almost overwhelming sense of dread. The house is as much a character as its inhabitants (both living and the dead), with the measured camerawork slowly exploring the dark recesses of the basement and the weathered exterior of the creaking house, which enhances the feeling of isolation and showcases the unsettling nuances of the fittingly creepy setting.

Comic relief arrives in the form of Jacob Lewis (portrayed here by the ever watchable Larry Fessenden), a jovial hippy who indulges in illegal substances and revels in the opportunity to hold a seance despite his wife May's concerns. Paul Sacchetti's seemingly humourless and deadpan persona is initially at odds with Jacob's lackadaisical approach to communicating with the dead but the family soon have far bigger worries to contend with as all hell breaks loose in their household.

Those expecting a crescendo of traditional ghostly scares may be slightly disappointed by the jarring change in direction We Are Still Here takes towards the latter part of the film; although the originality of the storyline is one of its strongest points, it is sure to divide audiences, as the denouement is at odds with the subtle scares that come before it.

This refreshing take on a somewhat oversaturated genre is a welcome hybrid of horror that should be approached with an open mind, and a spare change of underwear. We Are Still Here demonstrates director Ted Geoghegan's burning passion for the genre and might just be one of the best new horrors of 2015.

7/10

If you enjoy this you will like these:

The Innkeepers
The Changeling
The House of the Devil
Insidious

New Release - Stake Land

Ever since the success of 28 Days Later back in 2003, the post-apocalyptic genre of films has been a crowded market with its fair share of successes and failures. Notable releases such as The Road and Zombieland have been accompanied by such misfires as Doomsday and I Am Legend that, whilst entertaining, ultimately failed to hit their mark. Stakeland is a brave and accomplished entry in Jim Mickle's career, and although there are only a handful of original ideas throughout the film, the ideas taken from other movies are handled with enough skill that they serve only to enhance the overall viewing experience. It must be said, some of the director's own ideas are fantastic and show a great potential for the future - a future that the ragged band of survivors we follow throughout Stakeland may not be able to enjoy.

After our protagonist is saved from a disastrous situation which leaves him as the sole survivor of his family, he is taken under the wing of his rescuer; the elusive ‘Mister’, whose similarities to Whistler from Blade appear to be more than pure coincidence. Together,they embark on a road trip that tests them to their very limits as they encounter a whole host of dangers and struggle to survive whilst roaming throughout North America, picking up a number of travelling companions on the way.

In a storyline not too dissimilar to The Mist, some surviving factions of humans believe that God has sent the vampires to punish humanity and it is these that pose almost as much danger to our band of travellers as the dangerous breeds of vampire that stalk them. These cults are a welcome addition to the film, enhancing the aspect of danger and providing the basis for some of the film's more memorable moments in a standout scene where a supposedly safe town is assaulted from the air.

The initially nameless main character - played brilliantly by Connor Paolo (the spitting image of a young Colin Farrel) - has his life turned upside down at the start of the movie, however, we do not get to see how the whole world initially turned upside down, and the cause of the vampire's origins is rarely touched upon. His story is told through countless monologues that overlay the fantastic imagery of sparse vistas and urban decay, creating a sense of scale that is far beyond what we see on the screen. Whilst the other characters we meet do not have enough time to develop fully, they all play an essential part in the story, and although some scenes could have been far more powerful if the audience were affected by their plight, the suspense was enough to keep me on my edge of the seat throughout.


There are few scares to be found in Stakeland but the overall sense of foreboding doom and the generous helpings of violence and gore should please the majority of horror fans. Anyone with even a passing interest in post-apocalyptic films will definitely take a lot from Stakeland and although it is not quite a genre classic, it will certainly become a cult favourite in a few years time.

If you like this, you will love these:

The Road

Zombieland

28 Days Later

Near Dark