Eli Roth

When I saw Cabin in the Woods, I hadn’t seen a trailer, a teaser, not even a photograph of what the film entailed. The results of this were delighting.

Finally seeing a trailer for Cabin a day or two ago while going to see The Hunger Games (which was very riveting and plausible up until the actual Hunger Games), I was even more impressed by the nerdy finesse of Cloverfield screenwriter Drew Godard and Buffy the Vampire Slayer mastermind Joss Whedon. If Godard’s more subtle, but none the less momentous, genre mashing in Cloverfield or Whedon’s adeptly campy sci-fi/ horror tendencies in Buffy are an indication of anything, it’s that you should really have no idea what to expect from Cabin.

I’m going to refrain from going too far into the plot, because it is a sensitive matter with this film, but I’ll say that Cabin showcases a certain consciousness that I really can’t recall being so deliciously misleading  since Eli Roth’s Cabin Fever.


Looking back, its no wonder that the $1 million dollar budgeted Fever fared well in theaters, eventually pulling in just over $30 million dollars in the box office. Out of the 347 films screened at TIFF 2002, Fever was sold for $3.5 million to Lionsgate making it the highest selling film at that year’s festival. Still, Fever‘s 65% critic rating and 45 % audience rating (also the fact that when I ask most people if they have seen Fever a look of skepticism poses them) shows that if there is any real fellowship for this film, it is definitely cult.

 Although I don’t typically base my predictions on Tomatometers (Paranormal Activity has an 82%. Case in point.) Cabin‘s 90% critics freshness rating should be some indication of the film’s potential for success with audiences. Or rather, maybe this will be just one for the critics? With a marketing campaign by Lionsgate Entertainment that is eerily reminiscent of Cabin Fever, I can only guess that those behind the marketing of this film are just as aware of their work as Godard and Whedon.

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