The human race doesn't see it coming. It isn't a comet a war a virus nuclear bombs or terrorism that brings us down. It's simply running out of gas on Aug. 12 2012. Suddenly the world becomes divided between the hunted and the hunters. In this case the young people are known as Foragers and they've holed themselves up in a large empty hospital while outside hang the Rovers ready to cook them up. The Rovers are run by brutal renegades with names like Jackal (Michael Madsen) Viper (Michael Kelly) and Mongrel (Vinnie Jones) and when the Foragers take in a newcomer Neon (Rachel Miner) a band of Rovers are hot on her tail. They stalk the young meat holed up in the hospital and shout "We can do this the easy way or we can do this the hard way but by sunrise we'll be gnawing on your bones." Comforting. When a frightened Miner as Neon talks about how the Rovers are going to "to cook one of us” every night she does it with a straight face. She's the post-apocalyptic Gretel of the fairytale Hansel & Gretel and they have to figure out how to outsmart the witch--or in this case the posse of cannibals--outside their door. There’s lots of full-throttle screaming and the actors get to wear cool Viking outfits and suits of armor. Madsen is typically over-the-top in the vicious role but no one would dare tone him down not even Quentin Tarantino. Director/writer Mark Young makes a stand-out cannibal film. Cannibals wearing war paint and other battle accoutrements brandishing large knives and scythes while some of them walk around with half-eaten skulls it’s all quite effective. These characters are killing machines who can talk back which makes them even more frightening. Young balances the camp and horror perfectly so ultimately Tooth & Nail is a good scare.
The film opens as teenagers Katie (Amber Tamblyn) and Becca (Rachael Bella) are having a sleepover and spooking each other with ghost stories. Trouble is the urban legend Becca retells is all too true as Katie is just about to find out in the most grisly of ways. The story centers on a mysterious videotape that should you be so unfortunate as to view it will kill you in seven days (you know this because someone calls right after you watch it to alert you that you're gonna kick). Katie and her friends watched it and sure enough they're all dead a week later--sparking Katie's aunt an investigative journalist named Rachel (Naomi Watts) to uncover what happened and why. When the trail leads her to the sinister tape she watches it receives the foreboding phone call and consequently sets off on a race against time to somehow save her life by finding out the meaning of what she's seen. She enlists the help of Noah (Martin Henderson) the father of her rather strange and solitary young son Aidan (David Dorfman)--who like all kids in horror movies these days is seeing frightening visions too--and over the course of seven days the two find themselves embroiled in a mystery that involves the tape a twisted family and dying horses.
The acting by all involved is generally good. Naomi Watts who hit the radar with David Lynch's Mulholland Drive last year ably carries the film although there are times in close-up when she looks too self-aware with an almost smug expression as though she's about to smile when the situation isn't the least bit funny. Maybe it's because she knows her Rachel does some pretty mind-blowingly foolish things the most noteworthy among them leaving the deadly video out where her curious son (who annoyingly invokes Haley Joel Osment and looks absolutely nothing like either of the folks playing his parents) can pop it in the ol' VCR. Though Watts is a basically likeable fresh face any number of up-and-coming actresses could have done this role--as well or better.
It's been awhile since jaded horror fans have had something to get excited about. Gore Verbinski justifies his career after the miserable The Mexican with this taut thriller which opens with the teen girls in a truly terrifying sequence reminiscent of Scream. Verbinski is keenly aware of the value of keeping things just out of sight and not resorting to cheap horror movie shlock so there are genuine chills to be had (animal lovers will want to cover their eyes during one particularly horrifying scene). Although the moments that'll really make you jump out of your skin are few and far between the secret behind the videotape is compelling as is the imagery. Without overdoing it The Ring displays some fantastic cinematography particularly with the Buñuel-esque videotape (you could have heard a pin drop as engrossed as the audience was at this review screening) and the shots of gloomy mist-enshrouded Washington State are disquietingly atmospheric. However the last third of the movie is somewhat disappointing and contains several utterly ridiculous scenes--particularly one at the ending (which actually has a nice twist).