The setup is the only predictable part of this witty, postmodern take on the horror genre. Cabin In The Woods is one of those rare films that creates new genre tropes and takes the form to a new level of self-awareness, in the honourable tradition of Scream and The Evil Dead before it.
The film’s stock in trade is constantly telescoping dramatic irony – in the first scene of the film (which I can’t give away for fear of spoilers) you are shown enough to know this is not going to be your standard rural cabin slasher. So, you feel like you know what’s going on. But as the film progresses, another and then another curtain is drawn back, and the plot twists on itself and back again, and every time you think you’ve figured it out – you haven’t.
There are some impossible to reconcile plot-holes, some ridiculous assumptions you have to make in order for the whole thing to work, and some off-colour ‘ironic’ sexism, but you’ll find it more than worth your while to let these imperfections slide and get into the spirit of the thing.
It’s funny, with some good shocks, plenty of gore, and a brilliant ending. Fans of the genre will love it – and indeed, with affectionate nods to Scooby Doo, The Evil Dead, The Cube and many more, it really is aimed at aficionados.
Cabin in the Woods is an intelligent and knowing look at our old friend horror. And it contains the best term for an erection ever used on screen.
Cabin in the Woods is in the cinema now.
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