Violence of the Lambs: A Review of You're Next

SPOILER ALERT:  It’s virtually impossible to review this flick without giving away one major surprise.  It’s not a surprise in the plot.  You know me, that’s not how I roll.  It’s actually a spoiler as to the nature of the film itself.  Other reviews have spoiled that surprise already, but I think it’s only fair to let you know ahead of time.  It probably wouldn’t effect your enjoyment of the flick, but if you want to go in completely blind you may want to hold off on reading this review until after you see the movie.  There.  Now you know.  I don’t wanna hear anyone bitching later.

When I first saw the trailer for You’re Next, featuring the masterful musical choice of Lou Reed’s song Perfect Day, I thought I knew what the flick was going to be.  I was expecting just another entry in the recently very popular home invasion subgenre.  A different, hopefully better, take on The Strangers’ formula.  Little did I know that the film’s promotion had pulled a fast one on me.  I was expecting gritty violence.  What I got was gritty violence and… laughs.  Lots of them.  You’re Next, a movie I expected to be a run of the mill survival horror flick, turned out to be the best horror comedy so far this year.

Synopsis: When a gang of masked, ax-wielding murderers descend upon the Davison family reunion, the hapless victims seem trapped...until an unlikely guest of the family proves to be the most talented killer of all.

All too often with horror comedies, the delicate balance between the two elements is mishandled.  You’re Next walks that line well.  The audience at the screening I attended roared with laughter, but the jumpier members of the crowd shrieked a few times too.  The scares and laughs are placed perfectly, setting each other up with expert timing.  As far as the comedy goes, it’s superb.  Writer Simon Barrett has crafted one hell of a screenplay.  It’s not so much poking fun at the genre as it is telling a serious story with funny characters.  The dialogue is great, particularly the interplay between the family members.  If only the bickering at my family reunions could be this entertaining.  While we’re talking about the screenplay, I like that Barrett plays most of his hand early, trotting out the big reveal early and letting it play out slowly.  That was smart.  There are still a couple of twists left (that the astute horror fan will see coming a mile away), but giving away the main one before the audience gets the chance to call it was a good move.

Of course, that screenplay wouldn’t mean a thing without actors who could do it justice.  The cast definitely does well with the material.  AJ Bowden is one of my favorite current genre actors.  Mark my words, one day he will be a cult favorite and will be charging stupid amounts of money for his autograph at conventions. He’s excellent in this flick, but I feel like he was underutilized.  I think he should have played Nicholas Tucci’s role and vice versa.  They’re both very good, but I think that casting switch could have played a little more to both of their strengths.  Rob Moran and horror stalwart Barbara Crampton are splendid (I told you I would bring that word back) as the parents.  The true standout is Joe Swanberg.  I don’t know if he’s a giant bag of douche in real life as certain members of the press have asserted, but he certainly portrays one convincingly.  He gets most of the best lines, and his delivery is on point.  Sharni Vinson also shines but, at this point, the less said about her role the better.

On the horror side of things, we’ve got some well-executed jump scares.  A couple of the particularly enjoyable ones play off of the background/foreground model a-la Halloween.  There’s also some commendable gore.  The best part; it all appeared to be practical in the close ups.  In fact, there’s a refreshing overall lack of obvious CGI in You’re Next.  Other reviewers have lauded the film’s suspense, but I didn’t find that to be the case.  Then again, a movie really has to operate well outside of normal horror tropes to keep me guessing.  From the reaction of the crowd, it appeared that those less jaded than I spent at least some of the movie on the edge of their seats.

There is one huge, glaring problem with You’re Next, though.  I HATED the way it was shot.  Outside of found footage movies, where shaky cam makes sense, this is the most spastically jerky movie I’ve seen in years.  I already hate shaky cam action sequences, but this goes above and beyond.  The camera can’t even hold still when nothing is happening.  There is absolutely no excuse for the camera to be bobbing and swaying during a scene of a couple lying in bed talking.  In the “dinner attack” scene, the camera is jumping so spastically that it’s sometimes impossible to even tell which character you’re looking at.   Director Adam Wingard has been criticized before for his excessive use of the “cameraman with Parkinson’s” technique.  It’s a damn shame too, because there are a handful of sustained shots and slow motion sequences that look fantastic.  I weep for the movie this could have been if it was shot well.  If you’re susceptible to motion sickness, you might have issues with this one.  I don’t have that problem.  I’m just nauseated by crappy filmmaking.

Random Thought #1: One of the creepy animal masks the killers wear is very similar to one worn by a WWE wrestler that debuted recently.  I lost count of the times I heard the name “Wyatt family” spoken in the audience.  Brilliant marketing.  Well-played Vince.

Random Thought #2: I expect to see a lot of lamb masks this Halloween.

Random Thought #3: There are times when an amazing synth score straight out of the 80’s kicks in.  It is truly beautiful.  Retro done right.

Random Thought #4: If I do another edition of The Horror Movie Darwin Awards, there’s one in this flick.

You’re Next was a pleasant surprise.  Usually I complain about misleading advertising, but I like being thrown a curveball now and then.  I laughed the whole way through, either at the wit of the flick or the screams in the audience.  It’s well acted, well written, and well paced.  The only problem is the terrible camera work.  If nonstop shaky cam doesn’t bother you, then disregard that part of the review.  It seriously hampered my enjoyment of the movie.  It certainly didn’t ruin it, however.  You’re Next was a damn good time.  Plus, they get points for using the right form of “you’re.”  A surprisingly fun flick that delivers a lot of chuckles and a few jolts.  7 “creepy sheep” out of 10.  Nathan says check it out.

Review: Rites of Spring

Ah Spring, when a young man’s fancy lightly turns to thoughts of kidnapping and murder. IFC’s horror flick Rites of Spring hits VOD tomorrow, and it’s a little slice of old school. That doesn’t mean that it’s a “throwback.” Thankfully, that also doesn’t mean that they slapped some fake film defects on it and dared to call it “grindhouse.” What it means is that it had old school sensibilities. The audience isn’t in on the joke, because there’s no joke. It is what it is, and for better or for worse, we’re along for the ride. It’s not breaking any new ground, but it has enough fun with the familiar ground it’s treading that what we get is a fun slasher romp with a caper flick thrown in for good measure. Now if they had just fleshed out the story (and ending) a bit…

Synopsis: A group of kidnappers abduct the daughter of a wealthy socialite and hide out in an abandoned school in the middle of the woods. But feelings of guilt soon overtake the kidnappers, dividing the group and putting their entire plan in jeopardy. The evening further spirals out of control when their poorly chosen hideout becomes a hunting ground for a mysterious creature that requires springtime ritualistic sacrifices.

What we have here are two parallel stories. On one hand we have the story of two girls that get abducted by a weirdo and held hostage in a barn. No, that isn’t a spoiler; it’s in the opening scene. Relax. The other is the story of the kidnapping caper going down, complete with complications and conflicts of its own. Stories of criminals who end up running afoul of something bigger or badder than them are not new in horror. Films like Psycho, Cannibal Ferrox, The Collector, Malevolence, Last House on the Left, From Dusk Til Dawn, and Dear God No have all pulled gold from that mine before. I love how Rites of Spring keeps you off kilter and guessing though. These two stories not only belong to two different genres, but they honestly feel like two different movies. It’s like you’re flipping the channel between a crime thriller and a horror flick. That may sound like it would cause tonal problems, but it works. The thing that makes it work is that the viewer knows good and well that at some point these two disparate tales have to intersect. Until about two minutes before it happens, we have no idea how these two stories are going to come together. When they do, it is a beauty of an out of the blue, “well isn’t that convenient, what the hell, really?” moment. It’s one step away from “Oh, hey guys, didn’t see you there. By the way, that dude’s gonna kill us all.”

At that point in most current neo-stalk and slash movies, the flick would wink-wink-nudge-nudge at the audience and say “Hey, did you see what we did there? Ridiculous, isn’t it? That’s ‘cause we’re old school.” Sorry guys, that’s not old school. Rites of Spring has no wink-wink-nudge-nudge to it at all. No snarky self-awareness. The viewer looks at ROS and says “I get it” and ROS looks back stonefaced and says “Get what?” That’s because Rites of Spring, while it may not be all that old school in style, is as old school as it gets in its sensibilities. It plays everything completely straight instead of doing the “watch what we do with the horror clichés” thing. The clichés are there. The characters do things that no rational person with half a brain would do. We have the “chick cowers covering her mouth in the foreground while the blurry killer moves in the background” shot. We have the “closeup of murder implement being drug along the wall” shot. It’s all here folks, and it’s all welcome. That’s because it’s done with a purity and no-joke honesty that a lot of horror flicks don’t have these days. What also comes with being old school is an absolutely great score. This is how they used to do horror music, and it’s nice to hear it revisited, because it’s damn effective. Score isn’t something I notice all that often, but this one really impressed me.

Speaking of old school, we’ve got another one of the hallmarks of old school slasher flicks, a cool ass killer. See that ugly mug over to the left? That’s Wormface. Wormface is awesome. Get a good look at that picture of Wormface. That’s concept art that was released to promote the flick. It’s also a WAY better look at him than we ever get in the movie. He dresses in and keeps his face covered with rags, so for most of the film he kinda looks like a homeless mummy. He also has a great weapon. I’ve always looked at those and wondered why they haven’t been used more in movies. Although the flick is pretty light on the gore, Ol’ Wormey is pretty brutal with that thing. My question is; what the hell do you call one of those? It looks like the lovechild brought forth by the unholy union of an axe and a scythe. If any of the Cellmates comments and tells me what that thing is called, then you win my eternal gratitude. That’s worth something, right? Anyway, not only is he cool looking, but I liked the way they built up to the reveal. Not gonna go into detail, but it’s done nicely.

You know what isn’t built up nicely? The backstory. The scuttlebutt around the online horror world is that this is planned as the first part of a trilogy. That’s all well and good, but the first part of a trilogy has to be able to stand on its own while still leaving questions. In this flick, the audience is told just enough to know what’s going on, but nowhere close to enough to understand what’s going on. How are some of these characters connected? How does this whole sacrifice thing work? Who the hell is Wormface? Who the hell is The Stranger? Why did the killings stop for a while? Why are thet starting back? We really needed at least a little bit of backstory. You don’t have to tell us everything, but for the love of hell, tell us something. First time writer and director Padraig Reynolds is obviously planning on answering these questions in the sequel. Sometimes that’s ok. For example, one of my favorite recent slasher flicks, Laid to Rest, did that. They left the explanation of Chromeskull’s motivation, identity, and purpose for the sequel too, but they also didn’t throw as many ideas out there as Rites of Spring did. The story in this flick just felt too thin to hold up all of the plot points it was teasing us with without leaving the viewer feeling a little cheated. LTR also felt like a self-contained unit because it had an ending. That movie stopped at a logical point that left questions, but the story was, for the moment at least, over. Rites of Spring ended mid scene. No resolution, nothing. It just stopped. Just like The Devil Inside did. Just like Supernatural season finales are fond of doing. I hate that. The ending pissed me off. Look at Halloween. Nothing was resolved there, and Halloween 2 started where 1 left off, but there was an air of finality at the end of 1. If you’re just going to stop out of nowhere, call the flick Rites of Spring: Episode 1 or something so we know what we’re getting into.

The acting was exceptional for an indie slasher movie, especially from the people I expected it to be good from. I really like AJ Bowen, and not just because he’s a local boy. He impressed me in The Signal, Hatchet 2, and House of the Devil, and he turns in a commendable performance here. His Signal co-star Anessa Ramsey is a classic survivor girl. Her performance is good, however she should never cry in a movie. Her cry is incredibly annoying. She was entertaining when she wasn’t crying. When she was, I almost wished this was WAY old school so someone could just slap her and shut her up. Marco St. John was awesome as “The Stranger.” You may remember him from a horrible flick that I love called Vicious. No? How about Dylan Dog: Dead of Ni…wait, nevermind. No one saw that flick. Well, he’s good in Rites of Spring. The rest of the cast is varying degrees of decent, from Sonny Marinelli’s effectively scummy heavy to Sarah Pachelli’s near catatonic kidnapped little girl. She may as well have been listed as a prop.

Overall, the movie looked pretty good. For a first timer, Reynolds shows some skill in the director’s chair, and I’m interested to see where he goes from here. Cinematographer Carl Herse (hey, that’s not how you spell hearse) has a good eye for shots and a nice sense of visual flair. Visually, the only problem is wobbly cam. In this one, though, it didn’t look so much like it was intentional as it was just a product of handheld shooting. So the question begs to be asked; why shoot handheld? I can understand in tracking shots. Hell, they masked the shaking perfectly during the cornfield chase. What? Oh come on, that doesn’t count as a spoiler. If there’s a cornfield, anyone who’s ever seen a horror flick could tell you that someone’s getting chased through it at some point. Chill out. Anyway, there is absolutely no excuse for a static shot of someone talking to be wobbling. When I was taking notes on this flick, the first one I wrote down was, and I quote, “Use a goddamn tripod for static shots and simple pans.” That’s good advice if I do say so myself. Steady camera work just looks more professional boys. I know I rant about shaky camera work a lot, so I’ll leave it at that this time. Did I mention that the cinematography was good and that the film doesn’t look low budget at all?

Aside from the story thinness and the wobbly camera work, I enjoyed this flick. It was refreshing to see a horror flick take itself seriously, warts and all, for once. Straight horror flicks are becoming more rare as indie horror trends towards the self-referential and “meta.” Rites of Spring is helping keep that old school attitude alive, and I’m really looking forward to the further adventures of Wormface. There are some problems with this flick, but it definitely does more than enough things Rite…er, right. Dammit. I keep doing that. Somewhere just barely shy of one and a half severed thumbs up. Nathan says check it out.