Cold Creek Manor starts out setting the mood for an eerie thriller. Having had enough of the hustle-bustle of New York life the Tilsons-- a documentary filmmaker Cooper (Dennis Quaid) his corporate exec wife Leah (Sharon Stone) and their two kids--seek the quiet serenity of the countryside and buy a repossessed dilapidated manor with intentions of fixing it up. They also inherit the previous owner's personal things which include pornographic photos ominous press clippings and some nasty looking farming tools hanging on the wall. You'd think that would be the first clue things aren't quite right but Cooper finds the stuff fascinating and decides to make a documentary about the place--not realizing the danger which lurks around the corner. Up pops Dale Massie (Stephen Dorff) a mean-as-a-snake redneck just out of prison whose looking to come home to the house that's been in his family for generations except the house has strangers living in it. He doesn't take too kindly to that fact and nor do the rest of the townsfolk who rally around him. The volatile ex-con tries everything possible to get the Tilsons out--as well as keep them from finding out the grisly truth about what happened in the manor--but instead of getting scarier the film falls apart. Ultimately what could potentially been a real frightfest simply denigrates into another typical good guy-bad guy showdown.
Cold Creek Manor's cast do what they can with formulaic characters. Quaid hot off a career jump with last year's gems The Rookie and Far from Heaven handles Cooper with the requisite amount of citified savvy an urban hipster adjusting to country living who is saddled with protecting his family from a raging lunatic while as his wife Stone basically sleepwalks through most of the movie with phoned-in screams and scared looks. It's a shame the talented actress decided to get back into the swing of moviemaking with such a dull part (her last movie was 2000's Beautiful Joe). Dorff (feardotcom) on the other hand gets to chew his way through the film as the over-the-top Dale. There's really no question of who the villain is when Dale comes on the screen all sweaty and menacing flexing his pecs with a wild look in his eyes and Dorff plays it full-tilt with not a subtle bone in his body. Juliette Lewis makes an appearance as Dale's trailer-trash girlfriend who sticks up for him even after he gives her a bloody nose in public (why you never really know). Yet the only genuine standout worth mentioning is Kristen Stewart who did such a great job as Jodie Foster's daughter in Panic Room. Stewart plays Tilson's sullen teenage daughter Kristen able to convey to Dale with just a scowl that she knows he's trouble. The young actress could be one to look out for.
With such a promising start Cold Creek Manor could have been a real nail-biter; instead the film is rife with missed opportunities. Screenwriter Richard Jefferies and director Mike Figgis (Leaving Las Vegas) choose to go the typical thriller route rather than build the suspense on the more intriguing aspects of the story namely the house and the secrets it hides. Instead Figgis first concentrates on Cooper and how he has to prove to everyone including his wife why he doesn't trust the seemingly helpful Dale. Then Figgis turns to Dale who is so obviously a psychopath it's hard to understand why anyone would buy him as a normal guy. Cold Creek is reminiscent of the 1990 thriller Pacific Heights about a couple who rents out part of their dream house to a sociopath who ruins their lives. Far from a classic Heights still holds up as a scary thriller--although you always know who the villain is you are nonetheless terrified wondering when and how his clever deadly tactics will strike next. In Cold Creek the enemy is too visible too recognizable and has little method to his madness. The final confrontation is so overdone--Dale chasing Cooper and Leah around the house one of those menacing farm tools in hand while a storm rages outside-- that you feel cheated.
Alpine University film student Amy Mayfield (Jennifer Morrison) needs to start her senior project but she's stymied by a case of screenwriter's block. Then a chance encounter with the new campus cop (Loretta Devine the only link to the original "Urban Legend") gives her an idea: She'll make a film about a serial killer who slays college students in ways related to urban legends. Needless to say her cast and crew members (Joseph Lawrence Eva Mendez Jessica Cauffiel) start to disappear in a series of bizarre and mysterious incidents. And yes the killer is the person you would least suspect but only because he/she lacks a plausible motive.
Morrison ("Stir of Echoes") never finds the right mix of vulnerability naïveté and attitude to play the slasher flick damsel-in-distress-turned-heroine. (And she's never in any real peril.) Sorely missing are the outrageous performances that Rebecca Gayheart Danielle Harris and Julian Richings provided in the original "Urban Legend" -- the supporting players shackled to tired Hollywood clichés and a lackluster story never get to exercise their dramatic talents.
Freshman director John Ottman struggles with an already sputtering script by Paul Harris Boardman and Scott Derrickson. Apparently the muse of over-the-top schlock horror blessed the first 15 minutes of the film then succumbed to spontaneous human combustion. With the exception of a mildly amusing "Blair Witch" cinéma-vérité parody the balance of the film generates neither thrill nor swill.