The Cabin in the Woods
THE CABIN IN THE WOODS
Directed by Drew Goddard
Written by Joss Whedon & Drew Goddard
Starring Chris Hemsworth, Kristin Connolly, Richard Jenkins
Take one look at the cabin in the eponymous cabin in the trailer and you'd be forgiven for thinking this was a remake of Evil Dead. It is such an iconic horror image that it is impossible to overlook - surrounded by forest, lacking the amenities of modern civilisation, and filled exclusively with amorous youths. So yes, it's a long way from an original setting. Given these typical characteristics, what is it that sets The Cabin in the Woods apart from any other meat-grinding, breast-flashing straight-to-DVD slasher fare? For one, the release schedule - it might have been fairer to distributors to skip the cinema entirely. But more importantly, this is the most original, clever, twisted, frightening and hilarious shocker to come out this year.
A quintet of college friends heads to a remote cabin in the wooded hills for a holiday, looking to get off the grid. As strange and disturbing events unfold around them, causing them to act out of character, they become increasingly aware of the terrible danger into which they have unwittingly fallen. Meanwhile, in an underground facility, Sitterson (Richard Jenkins) and Hadley (Bradley Whitford) prepare for the rigours of their day job, with their eyes firmly fixed on the cabin.
The opening of the film is jarring, setting a tone unfamiliar to the common horror fan. For one, it's not frightening, not in the least, and it's completely at odds with the tone set in all of the film's promotional material. It's also very, very funny, loaded to the hilt with the dry wit that Joss Whedon acolytes know and love. Jenkins (of Six Feet Under fame) and Whitford (of The West Wing) make for a fantastic comedy duo, and are blessed with every word on the page. Their environment is office-like, and their sense of superiority in a tedious world makes them hilarious. In the early stages, this is very clearly not a horror film.
After a confusing, blood-soaked title sequence, we come to the meat of the film - the cast of nubile youngsters. Immediately the mood is voyeuristic - Dana (Kristin Connolly) appears in panties sorting out her clothing for the trip, and cheerleader-esque Jules (Anna Hutchison) has dyed her hair blonde to impress boyfriend Kurt (Chris Hemsworth). She also pressures Dana to hook up with quiet newcomer Holden (Jesse Williams) while in the background Marty (Fran Kranz) smokes a whole lot of weed. Though archetypal, the character's relations are well fleshed out, believable and likable. Unusually, these are folks we don't want to see harmed.
Once the kids have reached the cabin, the building of tension is strangely never undercut by the intrusion of scenes from outside their surroundings. There is plenty of comedy, creepy moments, and even a few titillating softcore sequences with Jules, but underneath it all is the question of just what the hell is going on with the cabin in the woods.
And the less you know about that, the better. When the horror begins, it begins in earnest, and director Drew Goddard treats it with absolute seriousness. Deaths aren't played for laughs - they are visceral and shocking, and each one has great impact. The twists and turns of the plot never feel out of left field, but truly in keeping with the world, the genre and the diegesis of the film. We are acutely aware of the film's construction, but never in a way that seems forced - no one looks to camera and winks, and no one discusses being in a movie, but the comment from the makers rings loud and clear throughout. If a character does something predictable or stupid, there's always a solid reasoning as to why they do it. Add to this near-perfect script a phenomenal effects crew and one of the most imaginative and stylish production teams in town, and you have yourself one hell of a ride.
Speaking of the makers, all of our hats must tip to the genius that is Drew Goddard. This is his directorial debut, coming off the back of his writing on LOST and the brilliant Cloverfield, and it shows nothing but promise. His hand is deft and sure, his vision inspiring, and his knowledge of genre unquestionable. This is a man that knows that before he is able to change a genre, he must master it, and in one deft stroke he's done both. The faith placed in him by producer and co-writer Whedon has paid off. The two are supported at every level by a fantastic crew, cast and marketing team - even the poster for the film (image shown above) is a stroke of genius.
Above all things, the film is a gift to horror fans worldwide - every reference is pitch-perfect, the tone dark enough to draw in the skeptics, the frights consistent, and the gore astoundingly visceral. The target market are those like Goddard himself - genre lovers eager for something old, something new, something borrowed, and everything red.
Smashing through genre limitations like a swinging bear-trap, The Cabin in the Woods takes the influence of every horror film before it and piles them on a sacrificial altar. It shocks, amuses and captivates with equal proficiency, and thanks to Whedon's ever-blossoming career, with time it will see the wider audience it deserves. Every discerning horror fan should see this film, as it is the shape of all good things to come in the genre.
Once the kids have reached the cabin, the building of tension is strangely never undercut by the intrusion of scenes from outside their surroundings. There is plenty of comedy, creepy moments, and even a few titillating softcore sequences with Jules, but underneath it all is the question of just what the hell is going on with the cabin in the woods.
And the less you know about that, the better. When the horror begins, it begins in earnest, and director Drew Goddard treats it with absolute seriousness. Deaths aren't played for laughs - they are visceral and shocking, and each one has great impact. The twists and turns of the plot never feel out of left field, but truly in keeping with the world, the genre and the diegesis of the film. We are acutely aware of the film's construction, but never in a way that seems forced - no one looks to camera and winks, and no one discusses being in a movie, but the comment from the makers rings loud and clear throughout. If a character does something predictable or stupid, there's always a solid reasoning as to why they do it. Add to this near-perfect script a phenomenal effects crew and one of the most imaginative and stylish production teams in town, and you have yourself one hell of a ride.
Speaking of the makers, all of our hats must tip to the genius that is Drew Goddard. This is his directorial debut, coming off the back of his writing on LOST and the brilliant Cloverfield, and it shows nothing but promise. His hand is deft and sure, his vision inspiring, and his knowledge of genre unquestionable. This is a man that knows that before he is able to change a genre, he must master it, and in one deft stroke he's done both. The faith placed in him by producer and co-writer Whedon has paid off. The two are supported at every level by a fantastic crew, cast and marketing team - even the poster for the film (image shown above) is a stroke of genius.
Above all things, the film is a gift to horror fans worldwide - every reference is pitch-perfect, the tone dark enough to draw in the skeptics, the frights consistent, and the gore astoundingly visceral. The target market are those like Goddard himself - genre lovers eager for something old, something new, something borrowed, and everything red.
Smashing through genre limitations like a swinging bear-trap, The Cabin in the Woods takes the influence of every horror film before it and piles them on a sacrificial altar. It shocks, amuses and captivates with equal proficiency, and thanks to Whedon's ever-blossoming career, with time it will see the wider audience it deserves. Every discerning horror fan should see this film, as it is the shape of all good things to come in the genre.
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