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.
Beneath the glossy sheen of Zac Efron there exists the makings of quite a fine actor glimpses of which were seen in both the blockbuster comedy 17 Again and the indie drama Me and Orson Welles. His transition out of the Disney-fied teen-dream world and into more adult-oriented projects is a gradual uneasy one as is evidenced by his latest film the metaphysical drama Charlie St. Cloud which finds him perched squarely in between the two camps. Efron it appears is in that awkward stage.
In Charlie St. Cloud Efron plays the title character a carefree college-bound sailing star whose bright future is torpedoed when an awful auto wreck takes the life of his beloved kid brother Sam (Charlie Tahan). Charlie at the wheel of the car at the time of the crash briefly dies himself only to be wrested from a flatline by a particularly stubborn and spiritual EMT (Ray Liotta).
Years later Charlie’s body has made a full recovery but his mind remains plagued by some nasty after-effects of the tragedy. He’s given up sailing ditched his college plans gotten a job at a cemetery and taken up the habit of holding regular conversations with dead people — specifically his brother Sam with whom he meets daily in a forest clearing to play catch. Usually such mental deterioration coincides fairly closely with physical deterioration which is why you don’t encounter a lot of well-groomed paranoid schizophrenics on skid row. But Charlie has kept up with his workout and grooming regimens earning a reputation among the residents of his sleepy Pacific Northwest town as a sort of beautiful nutcase.
Unable to escape his all-consuming grief Charlie seems doomed to retreat further into isolation and despair until salvation arrives wrapped in a cardigan: Tess (Amanda Crew) a feisty pro sailor and no stranger to tragedy herself can see beyond Charlie’s unhinged persona to the sensitive troubled and irresistibly hot man that lies beneath. As their relationship deepens Charlie is increasingly torn between his imaginary friends and his real-life love.
It’s a noble aim giving tweens questions deeper than just “Edward or Jacob?” to contemplate and Charlie St. Cloud’s principal message “life is for living ” is a worthwhile one. But director Burr Steers having learned from the success of 17 Again clearly knows where his bread is buttered and so he takes care to sate the demands of Efron’s screeching fanbase by stocking the film with ample glowing shots of his star lovingly lit and clad invariably in a light blue solid color shirt and emoting against a picturesque coastal landscape. (Lest you think I'm exaggerating check out this studio-supplied promo clip featuring an interview with a shirtless Efron.) The awkward mix of existential drama and Abercrombie & Fitch commercial combined with a healthy dose of loopy Sixth Sense-esque supernatural shenanigans tossed in toward the end makes for an experience only the most fawning of Efron’s fans could enjoy.