Spring Break
Movie Reviews
David Coley
Issue date: 4/23/07 Section: Culture
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Their car breaks down and they're forced to walk back to a hotel they spotted.
After checking in with the odd manager, the menace begins. There's no labyrinthine secret or legend they have to uncover; they merely have to escape with their lives. They slowly figure out the killers' methods, and are able to get the upper hand more than once.
It's a refreshingly straightforward take on a tired genre. It's short and tight and every action has a reason. We don't care why the killers are after them, we only know they've done it before to others. The only advantage they have is a knowledge of the motel's layout and some '90s-era video equipment. Because the villains are not invincible, it makes the possibility of David and Amy's escape that much more probable, and the film becomes more exciting as a result.
Directed by Nimród Antal, the movie revels in inexpensive and easily produced scares that still manage to be frightening. Heavy knocking on one or more doors or the simplicity of light and shadow are enough to get us going. We never doubt the killers are just creeps in masks, but that doesn't make them any less terrifying.
The film is weakest when it tries to indulge the sentimentality of David and Amy's floundering marriage. Their child has died before the movie begins, and while he is not overly mentioned, there is just a little too much talk about their emotional problems. Another weak spot is Luke Wilson's performance. Poor guy, you can tell he's trying, but he can't conjure the emotional honesty needed to get him through some of the scenes.
If you're looking for a good simple thriller before the onslaught of the summer blockbusters begins, this is your ticket. It's one of the few horror movies of the past few years that can give you a good scare without becoming extremely ridiculous.
dcoley@unews.com
After checking in with the odd manager, the menace begins. There's no labyrinthine secret or legend they have to uncover; they merely have to escape with their lives. They slowly figure out the killers' methods, and are able to get the upper hand more than once.
It's a refreshingly straightforward take on a tired genre. It's short and tight and every action has a reason. We don't care why the killers are after them, we only know they've done it before to others. The only advantage they have is a knowledge of the motel's layout and some '90s-era video equipment. Because the villains are not invincible, it makes the possibility of David and Amy's escape that much more probable, and the film becomes more exciting as a result.
Directed by Nimród Antal, the movie revels in inexpensive and easily produced scares that still manage to be frightening. Heavy knocking on one or more doors or the simplicity of light and shadow are enough to get us going. We never doubt the killers are just creeps in masks, but that doesn't make them any less terrifying.
The film is weakest when it tries to indulge the sentimentality of David and Amy's floundering marriage. Their child has died before the movie begins, and while he is not overly mentioned, there is just a little too much talk about their emotional problems. Another weak spot is Luke Wilson's performance. Poor guy, you can tell he's trying, but he can't conjure the emotional honesty needed to get him through some of the scenes.
If you're looking for a good simple thriller before the onslaught of the summer blockbusters begins, this is your ticket. It's one of the few horror movies of the past few years that can give you a good scare without becoming extremely ridiculous.
dcoley@unews.com
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