Like the seemingly generic location at the center of the movie The Cabin in the Woods has a purposefully familiar exterior. But it's a facade and in the film's first few minutes writer/director Drew Goddard draws back the curtain to unveil an innovative and unexpected world. The setup is simple: five twenty-somethings head for a vacation in a lone shack upstate but when they arrive things quickly take a turn for the worse. The run-of-the-mill supernatural antics aren't simply for our amusement — there's another force behind the scenes orchestrating the quintet's demise for a bigger purpose. The mystery behind those horror movie tropes is Cabin in the Woods's clever twist a riff that's wickedly funny and endlessly fulfilling.
The first people we meet in Cabin in the Woods aren't the soon-to-be-terrorized young folk but two technicians Sitterson (Richard Jenkins) and Hadley (Bradley Whitford) who coordinate the Cabin's entertaining mischief. They're like employees pulled out of Office Space susceptible to the same droll ups and downs of any job —their gig just involves murdering co-eds. They sit in a control room orchestrating each piece of their plan with well-placed hurdles (cue the creaky door!) and rehearsed extras (enter: mysterious gas station owner). If that screams spoiler don't fret; the who the what the where and the why are all kept secret unraveling in parallel and commenting on the routine horror plotline.
Goddard and co-writer Joss Whedon don't let the scary movie thread fall to the wayside painting their ensemble with colorful characters and great talent: despite being stunning creatures the perfect types for a serial killer to chase down with a a giant knife Dana (Kristen Connolly) and Jules (Anna Hutchison) are smart savvy and sharp (a tangible sign of Whedon's influence); Curt (Chris Hemsworth) and his buddy Holden (Jesse Williams) are big and brutish — but not without personality; and Marty (Fran Kranz)... loves weed. Only after they arrive at the cabin a whiff of pheromonal gas in the air do they transform into the archetypical horror characters. All according to plan.
Cabin in the Woods has its cake and eats it too simultaneously clicking as a terrifying horror film a cackle-worthy satire and a thought-provoking dissection of the genre. Alongside its send-up of the overplayed "cabin in the woods" mechanics are grander ideas. Why do we watch? Goddard evaluates every perspective but never in a didactic fashion. There's a fury of imagination in every scene every joke Goddard and Whedon's script taking every opportunity to push the concept to unanticipated places. Across the board all the actors are able to balance the unusual heightened realism with Hemsworth proving his knack for comedy and versatility as an up-and-comer.
Cabin in the Woods is non-stop fun from beginning to end concluding with a grand finale that no amount of spoilers could ever dilute. At SXSW I called Cabin "the most crowd-pleasing movie of all time" and while that may seem sensationalist I assure I'll be rewatching this one for a long time.
Alex Hughes (Alan Rickman) is an emotionally closed-off British ex-con who heads to Canada to visit an old lover. When he misjudges the distances between Ontario and Winnipeg he rents a car and starts driving across the snowy winter landscape. He encounters a charming young woman named Vivienne Freeman (Emily Hampshire) who hitches a ride and begins to thaw out his frozen heart but then tragedy strikes as the pair has a terrible car accident and Vivienne is killed. Alex is left with terrible guilt and so drives to the little town of Wawa to offer condolences to Vivienne’s mother Linda (Sigourney Weaver). Surprisingly Alex discovers that Linda is a high-functioning autistic and as he agrees to help her plan the funeral an unlikely friendship develops. Meanwhile Alex also meets Maggie (Carrie-Anne Moss) Linda’s beautiful next-door neighbor; his relationships with those two very different women change him very unexpected ways. Forget Ripley from the Alien flicks! With Snow Cake Sigourney Weaver gives the performance of her life. She transforms completely into Linda Freeman a middle-aged woman whose life is framed – but not controlled – by her autism. From her slightly twitchy movements to the far-off look in her eyes Weaver masterfully captures the physical elements of the disorder; add in the completely believable dialogue that reveals Linda’s inner emotional state and the portrayal is one that just might bring Weaver an Academy Award for her work. Alan Rickman is equally affecting as a man whose personal anguish threatens to shut him down completely; his emotional reawakening is so real that we can’t help but empathize and root for him. Carrie-Anne Moss is quietly effective as the sexually restless neighbor and Emily Hampshire is a beam of sunshine in her short time on the screen as Linda’s daughter a real face to watch for the future. Welsh director Mark Evans cut his teeth on British television and small films like Trauma. With Snow Cake he proves that he’s got a talent for telling emotional stories without descending into sentimentality. That’s a fine line and one that makes this film sit head and shoulders above those Lifetime channel flicks that send a chill up the spine of every red-blooded male (and many of us females too). First-time screenwriter Angela Pell should get massive credit as well. She tapped into her personal experience as the parent of an autistic boy translating that knowledge into creating a portrait of a grown woman (and mother of a normal daughter) who has successfully made her way through life despite her disability. The potent combination of those two talents united with across-the-board fine acting make Snow Cake a supremely satisfying cinematic experience. Watch for this one during awards season later this year.