Apemangalore
Joined Feb 2009
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"Five friends go for a break at a remote cabin in the woods, where they get more than they bargained for. Together, they must discover the truth behind the cabin in the woods."
Taken from the film's IMDb page, that synopsis is all that you should know before watching Cabin in the Woods. Without being facetious, I almost want to say "just go see the movie. Trust me on this," as it would be a crime to spoil any one of this film's surprises. That being said, it's time to rise up to the challenge and review this thing. Somehow.
One of the most endearing aspects of this film is its self-awareness, which primarily shines through the dialogue between these five friends. Each of the actors fit neatly into their respective archetypes, with Fran Kranz stealing the show as the gang's stoner. More than just another token, however, the character actually ends up being considerably deeper than I initially expected. The same holds true for both Richard Jenkins' and Bradley Whitford's characters, though I won't elaborate on those two any further for the sake of spoilers.
The bulk of Cabin serves as both a parody and an homage to classic horror movie tropes, with the sharp, witty writing of Joss Whedon and director Drew Goddard carrying the day. It's the climax, though, wherein the horror film genre is turned completely upside down, that the movie elevates to a whole new level. Simply put, crap hits the fan.
While single-handedly destroying the genre, Cabin in the Woods provides for one chaotic ride. Not since last year's Hobo With a Shotgun have I had this much fun at the movies. I just about permeated this review with insufferable hyperbole, so I might as well end it with some more: nothing can prepare you for this movie.
Seriously, though, don't let anyone spoil it for you.
Taken from the film's IMDb page, that synopsis is all that you should know before watching Cabin in the Woods. Without being facetious, I almost want to say "just go see the movie. Trust me on this," as it would be a crime to spoil any one of this film's surprises. That being said, it's time to rise up to the challenge and review this thing. Somehow.
One of the most endearing aspects of this film is its self-awareness, which primarily shines through the dialogue between these five friends. Each of the actors fit neatly into their respective archetypes, with Fran Kranz stealing the show as the gang's stoner. More than just another token, however, the character actually ends up being considerably deeper than I initially expected. The same holds true for both Richard Jenkins' and Bradley Whitford's characters, though I won't elaborate on those two any further for the sake of spoilers.
The bulk of Cabin serves as both a parody and an homage to classic horror movie tropes, with the sharp, witty writing of Joss Whedon and director Drew Goddard carrying the day. It's the climax, though, wherein the horror film genre is turned completely upside down, that the movie elevates to a whole new level. Simply put, crap hits the fan.
While single-handedly destroying the genre, Cabin in the Woods provides for one chaotic ride. Not since last year's Hobo With a Shotgun have I had this much fun at the movies. I just about permeated this review with insufferable hyperbole, so I might as well end it with some more: nothing can prepare you for this movie.
Seriously, though, don't let anyone spoil it for you.
With John Lasseter having gained creative control over the studio several years ago now, it's more than fair to say that Walt Disney Animation has become a force to be reckoned with in the industry. While I felt that Meet the Robinsons was a fairly middling entry in the "classic" canon, it was 2008's Bolt that proved that it was still capable of creating films on par with those of its sister studio, Pixar. For me personally, it was the film that quickly found its way among Pulp Fiction and The Big Lebowski as one of my all-time favorites. So, when I heard that Tangled (or, as it was initially titled, Rapunzel) would also be under the helm of Byron Howard, along with Nathan Greno, Bolt's head of story, I naturally got pumped. Thankfully, Disney Animation's 50th feature continues the trend of excellence set by the duo's last project.
If there's one area where Tangled challenges Pixar, it's in the animation. Much like in the studio's previous computer-animated entry, all of the environments in the movie, while looking incredibly realistic, don't contradict the cartoon-esquire design of the characters. The film also provokes feelings of nostalgia, due in part by the painterly backgrounds that are reminiscent of films from Disney's first Golden Age.
As far as the plot is concerned, it's more or less what one would expect. That said, what Disney Animation tends to do best is have characters that are so relatable and different from one another that they make an otherwise traditional, borderline-formulaic tale feel virtually brand new. Definitely, that's pulled off here. The two leads, Rapunzel and Flynn (played with genuine sincerity by Mandy Moore and Zachary Levi, respectively) make for one of the most likable Disney couples, and the two side characters that accompany them along their journey are just as endearing. Often, when going into an animated film in particular, I'm afraid of running into agonizingly annoying "sidekicks." However, Rapunzel's pet chameleon, Pascal, got quite a few laughs out of me, and Maximus, the horse of the Head of the Palace Guard, pretty much steals the show. The less said about him, out of fear of spoiling anything, the better.
You probably wouldn't know it based on the way that this film was marketed, but Tangled is a musical. While I don't see the soundtrack as a whole going down in history as one of the studio's greatest, there are a couple of truly memorable musical numbers, one of which coming from the film's villainess, Mother Gothel. Voiced excellently by Donna Murphy, she's a character who constantly kept me guessing. If Gothel isn't on par with Keith David's Dr. Facilier from last year's Princess and the Frog, she's close.
Despite a mildly slow beginning, Tangled is one of the most entertaining, as well as one of the most emotionally resonant, movies that I've seen this year. Directors Byron Howard and Nathan Greno prove themselves to be more than just one-hit wonders by providing a film with mesmerizing visuals, catchy musical numbers, and a cast of characters that is almost entirely memorable. If nothing else, it's the first film since Inception that's reminded me why I go to films in the first place.
If there's one area where Tangled challenges Pixar, it's in the animation. Much like in the studio's previous computer-animated entry, all of the environments in the movie, while looking incredibly realistic, don't contradict the cartoon-esquire design of the characters. The film also provokes feelings of nostalgia, due in part by the painterly backgrounds that are reminiscent of films from Disney's first Golden Age.
As far as the plot is concerned, it's more or less what one would expect. That said, what Disney Animation tends to do best is have characters that are so relatable and different from one another that they make an otherwise traditional, borderline-formulaic tale feel virtually brand new. Definitely, that's pulled off here. The two leads, Rapunzel and Flynn (played with genuine sincerity by Mandy Moore and Zachary Levi, respectively) make for one of the most likable Disney couples, and the two side characters that accompany them along their journey are just as endearing. Often, when going into an animated film in particular, I'm afraid of running into agonizingly annoying "sidekicks." However, Rapunzel's pet chameleon, Pascal, got quite a few laughs out of me, and Maximus, the horse of the Head of the Palace Guard, pretty much steals the show. The less said about him, out of fear of spoiling anything, the better.
You probably wouldn't know it based on the way that this film was marketed, but Tangled is a musical. While I don't see the soundtrack as a whole going down in history as one of the studio's greatest, there are a couple of truly memorable musical numbers, one of which coming from the film's villainess, Mother Gothel. Voiced excellently by Donna Murphy, she's a character who constantly kept me guessing. If Gothel isn't on par with Keith David's Dr. Facilier from last year's Princess and the Frog, she's close.
Despite a mildly slow beginning, Tangled is one of the most entertaining, as well as one of the most emotionally resonant, movies that I've seen this year. Directors Byron Howard and Nathan Greno prove themselves to be more than just one-hit wonders by providing a film with mesmerizing visuals, catchy musical numbers, and a cast of characters that is almost entirely memorable. If nothing else, it's the first film since Inception that's reminded me why I go to films in the first place.
For anyone growing up during the '80's and early '90's, the notion of having a film including all of Hollywood's most legendary action heroes seemed like little more than a pipe dream. So, when I initially heard that Sylvester Stallone was going to be putting together a movie titled The Expendables for just that purpose, I literally freaked out. But does this supposed "culmination of wishes" deliver the goods? Absolutely.
One thing that I was worried about going into Expendables was that, despite how exciting the idea of having all of these guys together sounded on paper, the filmmakers wouldn't be able to give each of them the amount of screen time that they deserved. Personally, very seldom did I find this to actually be the case. Perhaps one or two members of the crew could've received a bit more time in the limelight, but on the whole, I thought that they balanced the focus considerably well, without making the whole venture feel like a cluttered mess.
Say what you will about Stallone as a director, but the man knows how to handle action. Not only do these heroes of yesteryear provide the film with such a tremendous sense of nostalgia, but the action sequences, as well as the way in which they're shot, harken back to their time as well, before - and I know that I'm about to sound like a curmudgeon here - action scenes were plagued by the infamous shaky-cam. I won't go into describing how any of these sequences play out, but suffice it to say, it's some delightfully brutal stuff.
Now, as far as the plot is concerned, what you read in the synopsis is Well, that's pretty much it. Sure, there are a few twists and turns along the way, but if you've watched any action hero classic, you'll see them coming from about a mile away. On top of that, I found the main villain to be pretty silly, and a good portion of the dialogue is just hysterically awful. But, admittedly, that's kind of the fun of the whole experience, as I simply looked at it as a cartoon. A very gory, decapitation-heavy cartoon, but nonetheless!
Overall, I got just about everything that I could want out of a movie like The Expendables: sheer badassery. Sure, the plot is paper thin, and the scene involving a couple of cameo appearances felt just a little anticlimactic, but as far as mindless action films go, this one's tough to beat, at least compared to what else we've been given this summer.
One thing that I was worried about going into Expendables was that, despite how exciting the idea of having all of these guys together sounded on paper, the filmmakers wouldn't be able to give each of them the amount of screen time that they deserved. Personally, very seldom did I find this to actually be the case. Perhaps one or two members of the crew could've received a bit more time in the limelight, but on the whole, I thought that they balanced the focus considerably well, without making the whole venture feel like a cluttered mess.
Say what you will about Stallone as a director, but the man knows how to handle action. Not only do these heroes of yesteryear provide the film with such a tremendous sense of nostalgia, but the action sequences, as well as the way in which they're shot, harken back to their time as well, before - and I know that I'm about to sound like a curmudgeon here - action scenes were plagued by the infamous shaky-cam. I won't go into describing how any of these sequences play out, but suffice it to say, it's some delightfully brutal stuff.
Now, as far as the plot is concerned, what you read in the synopsis is Well, that's pretty much it. Sure, there are a few twists and turns along the way, but if you've watched any action hero classic, you'll see them coming from about a mile away. On top of that, I found the main villain to be pretty silly, and a good portion of the dialogue is just hysterically awful. But, admittedly, that's kind of the fun of the whole experience, as I simply looked at it as a cartoon. A very gory, decapitation-heavy cartoon, but nonetheless!
Overall, I got just about everything that I could want out of a movie like The Expendables: sheer badassery. Sure, the plot is paper thin, and the scene involving a couple of cameo appearances felt just a little anticlimactic, but as far as mindless action films go, this one's tough to beat, at least compared to what else we've been given this summer.