Re: Cabin in the Woods

BigDamnArtist wrote:

I think people get to caught up on trying to analyze why Dana and Marty did what they did, as though their actions in that scene are the outcome of level headed thought and analytic thinking, when (I think) the movie makes it perfectly clear that we are dealing with two people on the very brink of their sanity who are given a choice between killing the living human being directly in front of them, the same person they just spent the entire day dealing with this shit with, and who on numerous occasions saved each others ass, or saying enough with the killing let it all burn (An action which has no understandable consequences to them at that moment, it's something so much larger than them, something they can't even begin to comprehend. And so in that moment, the two of them chose the choice they had where they could feel like they're were in control...not killing each other.

Okay, so this post is based on me having re-watched portions of the movie. In an earlier post, I said that we're given no reason to suspect that the kids might turn on each other, which isn't quite true. We do get a small hint from Sitterson right after he's been stabbed when he tells Dana to kill Marty. The exposition dump at the end is still really clumsy and unconvincing, though.

My impression wasn't that Dana and Marty made a logical choice to end the world. But they also didn't strike me as two tortured souls caving into human weakness. They both seem fully aware of the consequences of their actions, but act as if they're not personally invested, which doesn't make any sense.

I kinda agree with Marcus. Because the overall tone of the movie is so flippant, Dana and Marty's choice does make them seem a bit like a couple of kids flipping the whole world the finger.

I mean, I don't know if I could kill my friend under those circumstances either, but I would at least give a thought to my family and friends and what might happen to them as a consequence if I didn't. Dana says, "The whole world, Marty." and yet her words seem to fail to sway him in the slightest. And then later, in a complete turnaround, Dana says, "It's time to give someone else a chance." This s a thin justification at best, but my biggest problem is that this attitude comes completely out of left field. She seemed pretty distraught when her other friends died, but unless those were the only people in the whole world she cared about, why is she so disinterested in the fact that everyone else is going to die?

The only thing I liked about Cabin in the Woods was that the group of college kids felt like real human beings. They were funny, smart, interesting, and nice. I cared about what might happen to them. They were really fleshed out as people who had lives beyond the boundaries the movie they were in dictated. But the ending throws all of that out of the window, and we're given another helping of cynicism that limits them and their actions to those of stock characters in a scary movie. 

I would've much preferred it if Dana and Marty were sorta partly swayed by Ripley's words, but Dana gets taken out by the werewolf and she dies before the sun comes up, leaving Marty to reflect on the end of the world alone.

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Re: Cabin in the Woods

Jimmy B wrote:

Yay, I get to post this-

http://i1251.photobucket.com/albums/hh555/shiftybench/tumblr_m90szzCkkm1qhejigo1_500.gif

big_smile

Just pulled up this thread solely to find and elsewhere use that .gif. You have done well.

Teague Chrystie

I have a tendency to fix your typos.

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Re: Cabin in the Woods

I get the impression that this movie was purely an exercise in form, a playfull romp with horror tropes, and anything seemingly thematically poignant was never intended as anything other than neat, a serviceable thread for the patchwork, and certainly not deep nor a serious admonishment of the audience or the horror genre.

Maybe a lost opportunity but the tone of the piece set my expectations for just a fun time at the cinema, even after all the hype, I was not disappointed.

The most egregious points for me, of what I recall, was the mind control vapours, failing to pay off the Truman character and Marty's comeback after a somewhat explicit death, the combination of sound and situation seemed to make it quite definite. But I appreciate those points could all be a play on or subversion of genre tropes, and they're small quibbles anyway. And some of the creature designs, especially the pin-head homage, didn't really do it for me, but that's a minor taste thing.

I do wish, though, that it was a tentacle rather than a giant hand at the end. The hand may be more in line with the notion of the old gods as us, if indeed that was ever a serious concern, but I still think the tentacle would have been a better choice, more subtle as commentary, more horribly striking as aesthetic.

I agree that they could easly have gone a lot further with the commentary and the meta aspects but I don't think that was what they were aiming for.

The Low Frequenter

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Re: Cabin in the Woods

Teague wrote:

Just pulled up this thread solely to find and elsewhere use that .gif. You have done well.

Thank you kindly, sir smile

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Re: Cabin in the Woods

I did not give any amount of fucks for anyone in this film. There was no joy in the bloodshed, no pathos in the suffering of the characters, and I was annoyed about the booby shot.

There were too many problems:

SPOILER Show
Upstairs caused the short that stopped the tunnel from blowing, but upstairs isn't the enemy - they want the same outcome. What was their motivation?

Why was there a purge button at the opening of the elevators? Whomever purged would have been  killed, or unable to escape. This should have been in the control room.

If the old gods are under the cabin, how do the sacrifices in other countries link up? If there's an old god in each of the 5 countries, again, how?

Magic forcefields.

For such a critical piece of work, why would you design the most elaborate trap possible with multiple points of failure?

Nobody was killed on the toilet. This is an egregious oversight.

Wait - make-dumb hair dye?

Change-your-mind chemical spray

etc.


If anything Cabin in the Woods annoyed me because I can see how it could have been great with a director who revelled in being over the top. This would have been staggering had Tarantino been at the helm.

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Re: Cabin in the Woods

I so agree. This should have been a pure horror comedy. Instead, it tries to become some kind of social commentary where the audience is asked to think about its need to witness gore, except it is 25 years behind the times and is attacking movies made in the 1980s and 90s instead of the kind of torture porn made more recently.

Plenty of people, like me, didn't even see this because we love gory horror; we saw it because Joss Whedon was attached.

Last edited by Zarban (2014-08-06 22:19:36)

Warning: I'm probably rewriting this post as you read it.

Zarban's House of Commentaries

Re: Cabin in the Woods

It's been days, and I'm still annoyed at this film.

Show me one god-damned character arc. Just one.

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Re: Cabin in the Woods

Oh, they were all damned by god.

I write stories! With words!
http://www.asstr.org/~Invid_Fan/

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Re: Cabin in the Woods

Dave wrote:

It's been days, and I'm still annoyed at this film.

Show me one god-damned character arc. Just one.

Why does a movie require character arcs?

"The Doctor is Submarining through our brains." --Teague

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Re: Cabin in the Woods

Doctor Submarine wrote:
Dave wrote:

It's been days, and I'm still annoyed at this film.

Show me one god-damned character arc. Just one.

Why does a movie require character arcs?

Similar though different question:

Why does THIS movie require character arcs?

ZangrethorDigital.ca

Re: Cabin in the Woods

BigDamnArtist wrote:
Doctor Submarine wrote:
Dave wrote:

It's been days, and I'm still annoyed at this film.

Show me one god-damned character arc. Just one.

Why does a movie require character arcs?

Similar though different question:

Why does THIS movie require character arcs?

Yeah, exactly. CITW relies heavily on tropes and cliches to tell its story. Having stock characters is kind of the whole point.

"The Doctor is Submarining through our brains." --Teague

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62

Re: Cabin in the Woods

To me it's more of a compound question: What is this story trying to achieve, and would conventional character arcs be a good way to achieve that? Arc-ing a character just because that's-what-you-do can be mistake depending on what the story is and what it wants to achieve.

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Re: Cabin in the Woods

Their arc goes from living, to dead smile

I write stories! With words!
http://www.asstr.org/~Invid_Fan/

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