Ally's downward spiral goes further, as the Wiltons harass her and Kai starts supporting her after the shooting.
Cooties. 2015. Directed by Jonathan Milott & Cary Murnion. Screenplay by Leigh Whannell & Ian Brennan.
Starring Elijah Wood, Rainn Wilson, Alison Pill, Jack McBrayer, Leigh Whannell, Nasim Pedrad, Ian Brennan, Jorge Garcia, Cooper Roth, Miles Elliot, Morgan Lily, Sunny May Allison, and Armani Jackson. Glacier Films/SpectreVision.
Rated R. 88 minutes.
Officially out now on iTunes, Cooties was announced a little over two years ago. I remember seeing the premise alone and thinking this would be, at the very least, a bit of a good laugh. Admittedly, I’m not actually huge on horror-comedies. Funny that I love comedy and I am way in love with horror, yet the combination of both isn’t something that immediately appeals to me.
That being said, there are definitely instances of horror-comedy I’ve loved. Like Shaun of the Dead, which is almost the pinnacle to me of the sub-genre. There’s also Dead Alive, Gremlins, pieces of An American Werewolf in London are definitely full of comedy, Return of the Living Dead, House (a favourite of mine), and many more.
Cooties isn’t perfect, but it’s one of the best horror-comedy films to come out in awhile. There are lots of good laughs, solidly executed horror, and a pretty excellent script. This movie never takes itself too seriously; not to a fault, but enough to make it feel genuine. Some good performances help the whole film succeed, even in its slower moments. Rainn Wilson, of whom I’m not a fan, actually is pretty awesome. Not just him: Elijah Wood is great, Alison Pill cracked me up almost constantly, Nasim Pedrad played such an amazingly satirical character and proves she’s a real good comedian, and even the other much smaller roles had me in stitches.
But it’s the horror I love – the sweet, sweet horror.
The opening sequence of the film is pretty spooky, as well as nasty. Like churn your stomach nasty. Tainted nuggets… need I say more?
After this opener, Cooties shifts into comedy/dark comedy mode for a little portion. Which works extremely well. From a screenplay by Ian Brennan and Leigh Whannell, the comedy is genuine. It’s not awkward comedy, as some might expect seeing Rainn Wilson, however, it isn’t at all. There are some hilarious moments, especially from Elijah Wood whose character has a boyish charm while carrying the weight of the adult world on his shoulders; a writer trying hard to be whats he wants, stuck teaching when he’d rather be writing a novel as he says he is.
Still, things get intense fairly quick once the horror rears its fierce head. What I love is that the movie is only an hour and a half, not even, so the plot kicks in and runs wild without enough preamble to numb you. For a horror-comedy, this is an efficient technique and certainly made me enjoy Cooties even more than I might normally enjoy other movies in the sub-genre.
Killer kid movies always freak me out. Something about the innocence of children combined with evil – and in this case an illness/virus – really just gets to me, in an awfully heavy way.
The kids in Cooties are creepy. Plain and simple. One of the first intense scenes is when Wade Johnson (Rainn Wilson) finds himself trapped on the basketball court, surrounded by a bunch of the kids; they’re hissing, snarling, growls and blood and pus come out of them.
Something I enjoy about the killer kid sub-genre is how it subverts how we feel about children. You don’t feel any fear from them. When you see a kid, as an adult, there’s nothing threatening about them. Even when it comes to really messed up kids who might talk a good tough game, worst comes to worst you can pick a kid up and throw them if necessary. However, when the evil aspect comes into play – in film – there’s something in that subversion, something about how the children suddenly become threatening, which unsettles me at the core. It’s the innocence coming back into play, in a very sinister sense.
Even more so, Cooties pits school teachers against the kids they’re meant to be teaching, caring for, moulding into responsible young adults. There’s something even more wrenching about seeing these educators forced to kill the ones they’ve protected so long, similar to zombie films where we see parents have to kill their children or children forced to kill their parents. Something about this whole idea eats away at me. And even though there’s plenty of comedy peppered in throughout, I think there’s an absolutely relentless sense of dread happening from start to finish which never ever lets go.
What I enjoy so much about this movie is the fact it balances so well the aspects of horror and comedy. This is the strength of any solid horror-comedy, if they can find a balance somehow that ultimately works equally on both fronts. What I found worked, for me, is that Cooties teeters back and forth between riotous moments and nasty horror. I mean, there’s a genuine dose of R-rated horror here a lot of other filmmakers would be too afraid to include in their own films.
When Johnson (Wilson) kills the first kid with a fire extinguisher, I knew it was coming but there’s still an effective scare in that moment. Particularly I love the makeup special effects, the blood spray all over Johnson and the wall behind him, speckled red dots everywhere. A true horror scene. Often times there’s a comedic aspect to kills in horror-comedy; this is not one of those kills. In the midst of the comedy comes a brutal, vicious scene. Not only that, the weight is evident on the character of Wade Johnson, as he sorts of loses his fun loving attitude afterwards and takes a bit of time alone.
The cinematography all around is pretty awesome. There’s a genuine atmosphere from start to finish, which sort of evolves from section to section. Lyle Vincent is the one responsible for the camerawork here – he also did 2012’s Devoured, a decent little indie horror with some teeth, and also the downright fantastic A Girl Walks Home Alone at Night (you can see a marquee poster for this movie at around the 1 hour 17 minute mark, or a little after, as the survivors pass a theatre). So knowing those two pieces – liking the latter more than the former – it’s no surprise Vincent is able to give Cooties an interesting look and feel. At the start, even in the creepy/nauseating opening sequence, there’s this real bright, shiny type of aesthetic happening – this leads through a bit to when the darkness comes into play. Following the “turn” of the children, a more gritty yet still colourful scheme begins. The vividness of colour persists, only darker now, along with the shadowy halls of the school, lit here and there with neon Exit signs, and the dull, sickly makeup of the kids, bloody and diseased looking. Tons of great visual stuff happening in terms of how the cinematography is both bright and gritty.
Also, there’s a rocking score from Kreng (Pepijn Caudron) – lots of cool electronic stuff happening. Unlike many modern horror movies trying to evoke a retro 1980s style soundtrack, I found this goes for the electronic sound while not necessarily trying to riff off the ’80s particularly. It might have that type of vibe, but for me it’s not the typical modern horror score. Helps the different aspects of Cooties become more intense, along with Vincent’s cinematography, whether it be the action-horror scenes near the end or the plain creepy horror moments throughout. A great horror score, definitely a bit different than some of the other stuff as of late from the indie horror scene.
I have to mention one of my favourite scenes. It’s very close to the end, so without spoiling anything, the group of teachers trying to fend off all the infected/zombie children wander into a sort of McDonalds PlayPlace type of building. They find the PlayPlace itself, a massive jungle gym full of infected kids, frothing at the mouth, hissing and screaming, laughing like maniacs. The part I love is the lead-up, where first the group comes inside and the dark closes everything in, the flashlights give us enough to see bright party decorations, half eaten cake and nuggets; there’s this eerie quality to the scene I found incredible. Then when the lights go up, a neon multicoloured disco light ball turns, there’s this WHOA second where you can’t get over how wildly creepy the scene has become.
With a decent ending, that doesn’t try to wrap things up cleanly and to a precise point, I think Cooties overall gets a 4 out of 5 star rating. I loved the excellent mix of horror (good dose of blood/gore) and comedy. Plenty of good laughs, but horror wins out above anything else. There’s a lot of great intense kid-centric horror. This doesn’t shy away from showing any kids infected, bleeding, or straight up being killed. Though it isn’t malicious in the sense of useless violence. Mostly, as I said before, the subversion of the roles of the teachers in this film really makes things interesting, and horrific at various times for both the audience and the characters.
This is out now via iTunes, so get a copy! Maybe not everyone will love it like I did, but as someone not often drawn into horror-comedies, I’d at least suggest you give it a try.