by Craig Thomas
Horror film The Bay is, you’ve guessed it, a found footage movie. “Oh no,” I hear you cry, “not another one!” Yes, another one. “Really?” Yes. “Really?!” Yes, now please stop asking.
The Bay tells the story of a quiet town by the sea which has untold horrors thrust upon them from beneath the water.
The story is told by a former journalist, Donna (played by Kether Donohue) who just happened to be there with her cameraman covering a fluff piece about some festival or another. We are informed, via a webcam interview, that this (and all associated footage) was covered up by the US government. We then learn this footage was stolen and leaked by a Wikileaks type hacking group (mmm, topical). Our journalist has now spliced together the footage to create a documentary to “expose” the cover-up and the tragedy of what happened on that July 4th weekend. This is how the film continues throughout, with voiceovers and subtitles to provide context for what we’re seeing.
Somewhat surprisingly this idea actually works. By setting it at a carnival it gives an excuse for a lot of people to be recording the initial proceedings and making the protagonist a journalist allows the filming to continue throughout. Even the hospital scenes are well done with people recording the full waiting rooms for one reason or another, but more important here is the role of Doctor Michaels (played by Kenny Alfonso). Struggling to work out what is going on, he videochats with the Centre for Disease Control, which in turns allows us to see how the outside world is reacting to the outbreak. At times however, it does fall back onto the old “why are you filming this?” question which inevitably pops up in such films, but for the most part it seems a perfectly reasonable setup.
For a low budget film, both the acting (from as cast of relative unknowns) and the script (from single IMDB credit Michael Wallach) are pretty decent. There are a couple of slightly clunky moments, but for the most part it is solid. There also aren’t any lulls. Every scene has almost by default, a sense of peril because we know what is going on even when the characters don’t. Part of the credit goes to the script, part goes to director Barry Levinson (Rain Man, Good Morning, Vietnam, Sleepers). He does a good job balancing what the audience needs to see with maintaining an authentic amateur documentary feel to the project.
By making the monster essentially invisible it intends to scare on a base level, as well as saving on special effects in a much more efficient manner than the deeply disappointing Chernobyl Diaries. The shots of sores and blisters and partially digested flesh are unpleasant and are used rather sparingly to increase the impact and, one suspects, to hide their relative cheapness. Whilst a lot of films scrimp and save on effects (and as a by-product, scares) for a big though often unimpressive finale, The Bay sidesteps that trap. However, the ending is not entirely satisfactory and I suspect it will split viewer’s opinions
This is very much an eco-horror movie with a strong “pollution is bad” moral to it. At its heart it’s nothing we haven’t seen before. Bad stuff is put into the water, sea creatures mutate into unstoppable killing machines, chaos ensues. This isn’t Jaws in that the terror is confined to the waters, nor is it something like The Host where a big creature is running amok in the city. This is a small scale-story told through the inter-connecting tales of a number of different characters. To that extent, it works quite well. There is a constant sense of unease about the place as people react to a series of seemingly unconnected incidents through their own world view. It is only when the size of the problem is too great to deal with that people realize what is happening.
Whilst this is not the greatest film in the world, or indeed the scariest, it does convey a constant sense of unease throughout which puts it head and shoulders above a lot horror these days. The ending is somewhat of a letdown and will surely divide people who see this, but it is worth seeing just to see that a good idea, well executed can mean a found footage film needn’t be stupid and/or a waste of potential.
by Steve Habrat
To say that you have no idea what you are in for in The Cabin in the Woods is a complete understatement. You can’t even fathom the twist that is waiting to be sprung on you half way through this monster of a horror movie. That, my friends, is something you need to be excited about. I’ve said it multiple times, horror has hit rock bottom, from countless remakes, sequels, and retreads, leaving us only a handful of notable films to celebrate. It is truly hard to believe that there is such a shocking lack of vision and creativity working in Hollywood. I can’t believe they are paid millions to repackage and resell recycled garbage that we have already seen before and much better at that. The Cabin in the Woods lays waste to that approach; at first giving us the same weary old setup and then suddenly launching a shock and awe campaign that you will be truly unprepared for. It’s the first real crowd pleaser horror movie to come around in a long time, one that demands you see it in a packed house with tons of other unsuspecting viewers. You will be in for one wild night at the movies.
The Cabin in the Woods follows five college students, virgin Dana (Played by Kristen Connolly), slutty Jules (Played by Anna Hutchison), athletic Curt (Played by Chris Hemsworth), polite Holden (Played by Jesse Williams), and stoner Marty (Played by Fran Kranz), who head to an isolated cabin in the woods for a weekend of debauchery. After exploring the eerie basement, the group finds a worn out diary that they proceed to read from, conjuring up a bloodthirsty force in the woods that slowly descends upon the cabin. Meanwhile, a strange organization watches the kids from hidden cameras placed strategically around the cabin. It turns out that this organization has an agenda all their own and they are hiding a horrifying secret that threatens the world.
Considered a “loving hate letter” to horror by its director Drew Goddard and producer Joss Whedon, The Cabin in the Woods adoringly tips its hat to the classics every chance it gets. Keep an eye out for a hilarious nod to Evil Dead II, a siege on the cabin that is evocative of Night of the Living Dead, and a sequence that would have felt right at home in the calmer moments of the original Friday the 13th. It also helps that the early premise is loosely based on the original 1981 The Evil Dead. When the twist is revealed, The Cabin in the Woods evolves into a new breed of horror movie that embraces every single subgenre you can possibly think of. I hesitate to say anymore about it other than it does go for broke and it comes up a winner because of it. Fans of the genre will be left beside themselves and at times it was almost overload, so much to take in that you will be flirting with heading back to the theater to experience it again. It’s absolutely exhilarating.
The Cabin in the Woods does have a talented cast behind the wheel, not a weak link in the bunch and then springing a surprise guest on us in the final moments. I loved Chris Hemsworth as the jock Curt, the overly confident hero who uses his strength in some of the most hysterical ways possible. Wait for the scene where he comes face to face with a zombie girl. Fran Kranz also shines as the squinty-eyed stoner Marty who begins to suspect there is more going on than meets the eye. And then we have Richard Jenkins as Steve Hadley and Bradley Whitford as Richard Sitterson, who are members of the mysterious organization who steal every scene they are in. A good majority of the laughs come from their end, especially in a gambling sequence and in their deadpan observations while they watch the kids.
My one minor complaint with The Cabin in the Woods is that I wished it had been scarier than it turned out to be. Sure, it is loaded with jump scares that will have the easy targets filling the jeans, but I wish it had really freaked me out. The audience I saw the film with had a ball with the fake out scares, gasping every time that music blasted over the speakers. I did enjoy the campy melody that The Cabin in the Woods carries, right down to the self-aware chucklers like “We should split up!” In fact, the film is often times more of a comedy than it is a horror movie, but I think that is precisely the point of The Cabin in the Woods. Nothing really scares us anymore, never sending us home from the theater with a handful of sleepless nights. The Cabin in the Woods points out that horror isn’t just failing in America, but is crumbling all over the world, and simply not doing the job that it is responsible for.
The Cabin in the Woods turns out to be a blood soaked, anything goes party that takes absolutely no prisoners. It opts to wipe all the prisoners it could take off the map and then firebomb the map. As an evaluation of the sorry state of horror, it is spot on and leaves you itching to see more horror films like it. In a way it gives horror fans hope, that there is still some individuals out there in the industry who posses creativity and will take a few risks. It baffles me why the film has been shelved for so long and why the studio was so iffy about it. Well written, directed, acted, and featuring the mother of all horror movie finales, The Cabin in the Woods is an adrenaline shot jabbed right into the feeble heart of the horror genre.