Proof that you shouldn’t judge a film by its title
An influx of unimaginative titles have plagued modern cinema and the resulting releases carry a sense of negativity long before the house lights are even dimmed. These marketing misconceptions are frequently present within mainstream horror and unfortunately House at the End of the Street falls under this same shadow of audience’s preconceived aversion. However, much like The Cabin in the Woods, there’s a lot more to this film than the title suggests.
Continue reading House at the End of the Street Review
2012 has been a formidable year for film and audiences have returned to cinemas in great numbers to see heroes assemble, rise and fall. I chart my favourite films of 2012, in ascending order:
The rules have changed. Didn’t you get the memo?
Early 2012 saw the release of The Cabin in the Woods, an exemplary analysis of modern horror films where its creators, Drew Goddard and Joss Whedon, exposed the popular genre’s contemporary conventions. This genre-changing film has had a lasting effect on mainstream audiences’ reception of horrors; they now expect innovation and a higher standard – and this is the undoing of Scott Derrickson’s Sinister.
Continue reading Sinister Review
If you go into the woods today, you’re sure of a big surprise
Joss Whedon and debut director Drew Goddard have embarked on creating a unique horror experience that, much like Scream (1996), pays homage to the traditional form of the genre, whilst critiquing the tired conventions of its contemporary equivalent.The Cabin in the Woods reflects the originality Whedon fulfilled with Buffy the Vampire Slayer and it is so typical of him to bring a refreshing approach to a genre that has been done to a repeated, rather grizzly death. Continue reading The Cabin in the Woods Review