Very knowing of horror history

Rating: 6/10 (20 August 2012)

Over the past thirty or so years, the horror and science-fiction genre's of cinema have created vast armies of devotional fanatics, that they have somehow become somewhat powerful within the film making world. We now lovingly call them "fanboys", and as a public we view them as geeks. However, in the genre cinema world, their opinions, and attentions upon the minutia of a particular film, or film series, can sometimes alter the direction the film makers were originally going to take on the film. The horror genre is certainly one of these more scrupulously deconstructed filmic forms, perfectly illustrated with Wes Craven's Scream (1996 - 2011) films. But what The Cabin in the Woods does within this deconstructionist context, is to actually take a stab at criticising the level of involvement in the making of a film of the fanboy's, and their connection with keeping something almost uniform, such as if the "conventions" of a genre are changed, it becomes an issue for the gimpy-kids.
Writer Joss Whedon and writer/director Drew Goddard have constructed a rather witty, and intelligent screenplay, that does everything within it's power to keep the conventions of a kids-go-to-the-woods horror movie. We follow five friends as they go to a remote cabin. They meet a desolate garage owner, who has no "gas". They begin acting within film- world stereotypes, and horror film images build. However, parallel to this action, we follow two white-collar workers begin their day at a production studio, pushing buttons at a console. These suit and collar workers structure, manipulate, and construct the horror narrative, making sure that every detail adheres to the set conventions.
OK, so it could be argued that this is simply another criticism of reality television, and another apocalyptic view of our future entertainment. I would have to say that it is a little more complex than that notion. Whilst the films poster visualises a mechanical nature of this "puzzle house", the films secrets do not fully expose themselves to the climax. With many, many references to other horror films, - The Evil Dead (1982), gets the most - and a finale that will have horror fans delighted (if somewhat perplexed if they "get" it). The script is very knowing of horror history, and manages to maintain interest throughout, despite its more metaphysical concept. It's also good to see that Joss Whedon is finally getting the opportunity to flex his more cinematic muscles, instead of his usual relegation to television.
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