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Chara Dagres
The Cabin in the Woods is a 2011 science fiction[4] comedy horror film directed by Drew Goddard in his directorial debut, produced by Joss Whedon, and written by Whedon and Goddard.[5] It stars Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, Jesse Williams, Richard Jenkins, and Bradley Whitford. The plot follows a group of college students who retreat to a remote cabin in the woods where they fall victim to a variety of monsters while technicians manipulate events from an underground facility.
The film was originally slated for release on October 23, 2009, which was later delayed to February 5, 2010,[8] by Metro-Goldwyn-Mayer (MGM) and United Artists (UA), but was indefinitely shelved due to financial difficulties. In 2011, Lionsgate picked up the distribution rights. The film premiered in December 2011 at the Butt-Numb-A-Thon film festival in Austin, Texas and was released in the United States on April 13, 2012, to critical and commercial success. It grossed $66.5 million worldwide, and received generally positive reviews from critics, who praised its screenplay, tone, and performances.
In an underground laboratory, engineers Gary Sitterson and Steve Hadley discuss a mysterious ritual, after a similar operation in Stockholm just ended in failure, leaving only their facility and one in Japan to undertake the process, and with the latter holding a perfect record.
American college students Dana Polk, Jules Louden, Curt Vaughan, Holden McCrea, and Marty Mikalski are spending their weekend at Curt's cousin's cabin in the woods. From the lab, Sitterson and Hadley remotely control the cabin and manipulate the students by intoxicating them with mind-altering drugs. In the cabin's cellar, the group finds bizarre objects, including the diary of Patience Buckner, a cabin resident abused by her sadistic family. Dana recites incantations from the diary and inadvertently summons the zombified Buckner family.
Hadley releases pheromones to induce Curt and Jules to have sex outside. They are attacked by the zombies and Jules is decapitated while Curt escapes. Marty discovers concealed surveillance equipment in his room before being stabbed and dragged off by a zombie. The lab workers learn that the site in Japan has also failed, meaning that the American rite is "humanity's last hope". Curt, Holden, and Dana attempt to escape in their RV, but Sitterson triggers a tunnel collapse to block them. Curt attempts to jump a ravine on his motorcycle to seek help on the other side, but crashes into a force field and falls to his death. Dana then realizes that their experience is staged and controlled. Holden is killed by a zombie while driving the RV, causing it to crash into the lake, but Dana manages to escape.
The lab employees, seeing that Dana is the only survivor, celebrate the success of the rite, but then discover Marty is still alive. Marty takes Dana to a hidden elevator he discovered. They descend into the lab and discover a large collection of different monsters in cages. Dana correlates them with the objects in the cabin's cellar and realizes that the objects determine which monsters are released. Cornered by security personnel, the pair release all the monsters, which wreak havoc and slaughter the staff; Hadley is killed while Dana accidentally stabs Sitterson.
Dana and Marty discover an ancient temple, where they are confronted by "The Director". She explains that worldwide annual rituals of human sacrifice are held to appease the Ancient Ones, a group of cruel subterranean deities. Each region has its own ritual, and the American ritual involves the sacrifice of five archetypes: the whore (Jules), the athlete (Curt), the scholar (Holden), the fool (Marty), and the virgin (Dana). The order is arbitrary as long as the whore dies first and the virgin dies last or survives. The Director urges Dana to kill Marty to complete the ritual, as all other rituals failed that year. Dana is attacked by a werewolf, while Patience kills The Director; Marty proceeds to kill all except Dana.
An international co-production film between the United States and Canada, principal photography began on March 9, 2009, in Vancouver,[9] and concluded in May 2009. Joss Whedon co-wrote the script with Cloverfield screenwriter Drew Goddard, who also directed the film, marking his directorial debut. Goddard previously worked with Whedon on Buffy the Vampire Slayer and Angel as a writer.
... it's a serious critique of what we love and what we don't about horror movies. I love being scared. I love that mixture of thrill, of horror, that objectification/identification thing of wanting definitely for the people to be all right but at the same time hoping they'll go somewhere dark and face something awful. The things that I don't like are kids acting like idiots, the devolution of the horror movie into torture porn and into a long series of sadistic comeuppances. Drew and I both felt that the pendulum had swung a little too far in that direction.
A tie-in of the film with the video game Left 4 Dead 2 had been planned, with the game seeing downloadable content based on the movie's settings. However, due to MGM's financial problems, the game content was cancelled, but Valve allowed the studio to use monsters from Left 4 Dead 2 to populate the monster cells at the end of the film.[11]
The Cabin in the Woods was slated for wide release on February 5, 2010 (before that, it was slated for release on October 23, 2009),[12][13][14] and then delayed until January 14, 2011, so the film could be converted to 3D.[15][16] However, on June 17, 2010, MGM announced that the film would be delayed indefinitely due to ongoing financial difficulties at the studio.[17][18]
A surprise early screening of the film was held at the Butt-Numb-A-Thon in December 2011, attracting highly positive reactions.[24][25][26] The film later screened on March 9, 2012, at the South by Southwest film festival, also in Austin.[27]
The Cabin in the Woods was released on DVD and Blu-ray in North America on September 18, 2012.[28] Both the DVD and Blu-ray feature an audio commentary by Goddard and Whedon, several featurettes, a documentary about the making of the film, and a Q&A session at the 2012 WonderCon convention.[29]
Roger Ebert of the Chicago Sun-Times gave the film three out of four stars, saying that "The Cabin in the Woods has been constructed almost as a puzzle for horror fans to solve. Which conventions are being toyed with? Which authors and films are being referred to? Is the film itself an act of criticism?"[36] Peter Travers of Rolling Stone gave the film 3.5 out of 4 stars, calling it "fiendishly funny". Travers praised Kristen Connolly and Fran Kranz for their performances, and wrote, "By turning splatter formula on its empty head, Cabin shows you can unleash a fire-breathing horror film without leaving your brain or your heart on the killing floor."[37]
"Even when the story sticks firmly in standard horror territory, this particular group of attractive kids is especially fun to spend time with... You'll have to see it, and you really have to see it if you love horror, hate horror, or have any interest in seeing how the genre can function as a playground for something completely fresh. Richard Jenkins and Bradley Whitford are involved, though in roles that are more fun to discover as you go along-- they do get a lot of the best jokes, though, and their scenes show a lot of Goddard's skill in handling the rhythm of a scene."[38]
Jenkins and Whitford were also admired by The A.V. Club ("Whitford and Jenkins clearly delight in the verbose script") and by Wired, whose reviewer (granting 9 of 10 stars) called Cabin "a smart sendup of horror movies and mythology...with a peculiar relish that testifies to the moviemakers' love of genre film... a smart, sarcastic and deliriously fun journey into the belly of the horror beast." He cited the "witty banter, creative twists" and "clippy, quippy dialog that lifted Firefly and Buffy the Vampire Slayer to cult status."[39]
"A fiendishly clever brand of meta-level genius propels The Cabin in the Woods, a pulpy, deceivingly insightful send-up of horror movies that elicits just as many knowing chuckles as horrified gasps. [It] comes not only to praise the slasher-, zombie- and gore-fests of yore but to critique them, elaborating on their grammatical elements and archetypal figures even while searching for ways to put them to novel use. The danger in such a loftily ironic approach is that everything in the film appears with ready-made quotation marks around it... But by then, the audience will have picked up on the infectiously goofy vibe of an enterprise that, from its first sprightly moments, clearly has no intention of taking itself too seriously."[40]
Eric Goldman, writing for IGN, called the movie "an incredibly clever and fun take on classic horror movie tropes."[41] SF Gate said, "The cliches come at an onslaught pace" in "a wonderfully conceived story that gives a bigger than life and fascinating explanation for why so many horror movie cliches exist in the first place... By the time the ride is over, director Drew Goddard and co-writers Goddard and Joss Whedon will change course three or four times, nodding and winking but never losing momentum."[42] Of the screenplay by Goddard and Whedon, a CNN reviewer praised "these horror hipsters' acidic, postmodern designs on one of the movie industry's hoariest, least respected staples... the dialogue is always a notch or three smarter and snappier than you'd expect."[43]
Keith Phipps of The A.V. Club addressed "...the difficult challenge of putting across a satirical film with a serious body count. Cabin touches on everything from The Evil Dead and Friday the 13th to the mechanized mutilations of the Saw series while digging deeper into the Lovecraftian roots of horror in an attempt to reveal what makes the genre work... It's an exercise in metafiction that, while providing grisly fun, never distances viewers. And it's entertaining, while asking the same question of viewers and characters alike: Why come to a place you knew all along was going to be so dark and dangerous?"[44]
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