Lots of people in the movie blogging world have been talking about spoilers during the lead up to The Cabin in the Woods’ release. The film, whose plot is not quite what it seems, has been a flashpoint for debate about what is fair game to give away when talking about a film and what you should keep close to your vest so as to not ruin the experience of discovery that comes from going into a movie blind. It’s an interesting question, with no inarguable answers, but I’m not quite sure why The Cabin in the Woods is the movie that got everyone so stuck on the issue. Sure, there’s a twist here: while Cabin looks on its surface like your typical, college kids get killed out in the country by hillbillies slasher movie, it’s actually a more complex tale than that. The cabin they’re staying in isn’t just your standard, dusty old shack. It’s a fenced in and monitored area that’s under the control of a shadowy cabal of puppeteers. And the kids aren’t just heading out into the woods at random. They’re there for a very specific reason. Still, none of that is really much of a secret.
Despite the fact that the movie’s advertising gives everything I just “revealed” away, and despite the fact that it’s essential to bring up these elements in order to get those on the fence interested in giving Cabin a chance, there are a segment of movie buffs out there who would see you drawn and quartered for being upfront about the fact that this is anything other than the same old slasher tale. Sure, there’s more that shouldn’t be given away. I’m not going to talk about who, exactly, the shadowy puppeteers are, and I won’t discuss the specifics of what their mysterious goal is or whether or not they succeed in the end; but I don’t see how that’s any different from how I approach the reviewing of every other film. It’s clear to anyone with a brain that you shouldn’t go through a movie’s plot, beat by beat, and give away everything that happens right up to the end credits. The fallacy here seems to be the belief that The Cabin in the Woods is some sort of labyrinthian story, with constant twists and turns, and huge reveals all throughout. It’s not. That’s grossly overstating things.
What The Cabin in the Woods is, is a fun film full of deeper than you would imagine characterizations, great horror movie scares, and a good amount of legitimate laughs. It works so well because it’s not just a loving homage to the horror movie genre; it’s also a satisfying, stand alone entry into the pantheon, all of that Meta stuff aside. Unlike something like Scream, which comments on and subverts horror conventions, Cabin is a little more subtle in the way it references the clichés of the genre. And instead of lampooning or subverting horror movie hokiness, this movie embraces it, explains it, and legitimizes it. In a way, every bad horror movie that you’ve ever seen becomes a whole lot better when you view it through the lens of The Cabin in the Woods. I’ve said that this movie isn’t primarily a series of secrets, but it’s not a parody or spoof either. It’s a legit horror movie that builds great suspense, has crazy kills, and, for once, actually features protagonists that you like.
When the film opens and you see that the guys behind the curtain are being played by a brash yet dense Richard Jenkins and a sniveling and unscrupulous Brad Whitford, who are treating the villain roles like high comedy, you know that you’re in for a good time. And when the second scene you get is a scene of a gorgeous girl (Kristen Connolly) prancing around in her panties, you’re assured that winking satire and clever quips aren’t all the movie has in store for you. This is genre fun in all of the best, most exploitive ways. But it’s genre fun that gets elevated a bit because, as anyone who has extensively watched Buffy and Angel will tell you, Drew Goddard and Joss Whedon are great writers. They understand character, they understand how to put unique spins on storytelling expectations, and they certainly know how to craft clever dialogue. But, despite their skills, they never put themselves above the genre they’re working in. They always find a way to get to the heart of what people love about whatever type of story they’re telling (in this case horror), and then offer up a distilled version of that. Probably the biggest asset this film brings to the table is its co-writers/director.
Their crafting here is by the books and effective. In classic horror fashion, the camera is often peeking from behind branches or fence posts, creating a constant air of paranoia. There’s a big moment where the main characters are deciding whether or not they should go down into the cabin’s cellar that gets built to perfectly through little hints in the screenwriting and through the effective establishing of mood. You know that this way lies certain doom, and you’re left there—hung out to dry—as the kids debate whether they’re going to venture into the murky depths or not. By the time they start rooting around in the cellar’s dusty holdings, the tension and dread is just boiling over. And once the running, the screaming, and the killings all start, the action never lets up for a second. Too many horror films are boring until the killings start, or lack proper “horror” during the bloodletting because the characters are so annoying that you’re actively rooting for them to get killed by whatever the featured movie monster is. Not so with Cabin. That special Goddard and Whedon touch assures that getting to know the kids is entertaining enough to work as a movie on its own, and also that you get to know them well enough to care whether they live or die. This isn’t just scenes of anonymous, irritating kids partying, then dying. We get a glimpse into each character’s morality, we test their mettle, and explore their ways of thinking.
I haven’t spent much time talking about the actors who played our crew of revelers turned victims, however, and I think that’s because, despite my previous comments, they weren’t really given all that much opportunity to stand out. Yeah, these are richer characters that you usually get in more disposable slasher films, and yeah, each actor does a good job bringing their particular kid to life... but the characters aren’t really the main character here. In a way, horror movies are the main character, and the actors are just taking the work that other people have done before them and rearranging it all in a new order. Plus, it’s hard to get into who each of their characters are and talk about what they did well without getting into that dreaded spoiler territory.
Their names are all worth mentioning though, so I’ll say that in addition to the aforementioned Connolly, Chris Hemsworth, Anna Hutchison, Jesse Williams, and Fran Kranz all do good work as the leads. And there are even a couple of Buffy/Angel vets who show up in supporting roles, putting this one even further over the top as far as acting goodness goes. During their work on those late 90s television series, Goddard and Whedon put together an impressive stable of talented actors, and it’s a shame that more of them don’t get better utilized nowadays. Here’s to hoping that with Goddard’s work as a director here and Whedon’s work in the sure to be huge The Avengers later this summer, we’ll be seeing a lot more features from their production company, Mutant Enemy, in the near future. But that’s all contingent on whether or not enough people head out to the theaters to see The Cabin in the Woods. So let’s all get out there and make it happen.
