Let’s face it. The horror genre has been insipid the last decade. Very few directors have sparked creativity into the genre. Until now.
Enter “The Cabin in the Woods,” written and produced by Joss Whedon, the man behind the popular “Buffy the Vampire Slayer” and “Angel” TV series.
His latest work promises a fresh take in the horror genre. And he doesn’t disappoint.
“The Cabin in the Woods” rewrites the rules of horror and slasher films in a game-changing fashion similar to 1996’s “Scream” and 2004’s “Shaun of the Dead.”
The story centers around five college-age friends who embark on a getaway trip to a nearby cabin in the woods unaware of the trouble that looms ahead for them.
However, this isn’t your typical cliché-ridden horror flick.
Unbeknownst to the five unlucky individuals, two puppeteers control the outcome of how they will die from an industrial facility.
What sets this movie apart from the rest is its masterful melting pot for both comedy and the slasher genre, which live in harmony under the same roof.
There are as many laughs as there are frights in “The Cabin in the Woods.”
It’s rare for a film to exhibit both of those qualities, which is one of the reasons why Whedon’s latest film is so special.
The movie’s unconventionality can be characterized immediately in the opening scene, as two technicians who run the operation appear in an office setting chatting with each other.
At first glance, this doesn’t appear to be your typical slasher, but the viewer soon learns that the five friends are puppets in a sick and twisted game.
The two technicians, Richard Sitterson (Richard Jenkins) and Steve Hadley (Bradley Whitford), provide comedic relief as they control the actions of the five victims. Jenkins and Hadley, along with a smart script, are one of the main reasons why this is such a joy to watch from a comedic perspective. They are what drive the laughs.
“The Cabin in the Woods” is a new form of horror that not only sets out to revamp the genre but also to challenge banal elements that recent horror movies have beat to death.
In a way, it’s a satire of its own genre. Whedon has produced and written one of the best horror films in the past two decades.
It’s always refreshing to see when a director challenges modern film structure and comes out of the other side of the tunnel looking like a genius.
That’s what Whedon has produced here with his creativity.
