A trip into the backwoods like never before! Slovenian rednecks and liquor await.
Nothing out of the ordinary here. Yet ROVDYR (a.k.a MANHUNT) packs a visceral, brutish punch all the same.
Scarce. 2008. Directed & Written by Jesse Thomas Cook and John Geddes.
Starring Steve Warren, Gary Fischer, Chris Warrilow, Thomas Webb, John Geddes, Jesse Thomas Cook, Stephanie Banting, Gavin Peacock, Matt Griffin, Jaclyn Pampalone, Jackie Eddolls, & Jason Derushie.
Bloodlife Films/Two Door Four Door Pictures.
Rated 18A. 93 minutes.
Some movies are so bad they’re good. Others are just downright bad, to the point you’re unable to enjoy anything about them other than fleeting moments. Often times you can find enjoyment in a bad film because it’s fun to laugh, poke fun, point out all the bad effects, performances, and whatever else makes you chuckle a little. In certain situations depending on the film, this can make for a so-bad-it’s-good cinema experience.
Then there are horror flicks like Scarce, which cross over into the so-bad-it’s-embarrassing category. This little Canadian horror is never quite able to find its footing. A few scenes are creepy, a bunch are gory and nasty. Other than that it’s poor acting, uninspired directing, and a general mash of ill conceived attempts at tackling the backwoods cannibal horror it so clearly reveres.
Funny. I had a better time watching the Making Of documentary included on the DVD than I did watching the film. That’s only half a lie. I always try to find the good in each movie I watch, no matter how bad it gets. Problem being that there just is not good in every movie. Not all art is art – some of it’s pop, some of it’s art, some of it’s trash. Those are the odds. And odds are, you’ll also agree with me on this one.
One of the immediately awful parts about Scarce is the fact it’s a Canadian production, clearly filmed in Canada and with Canadian actors, yet they’ve insisted on making it out as an American setting. First off, the accents of a couple actors give away this whole fact. Secondly, I’m not entirely sure why they would bother doing this when there are plenty of backwoods locations across Canada where you can set an isolated film such as this one. Often it’s to appear more commercial, though I’m still not sold on that being of any use.
Later, it isn’t just the performances that are weak. Even little moments that are meant to be scary or dramatic come off as weakened thuds, rather than landing with any impact. For instance, at one point Ivan (Steve Warren) whacks Dustin (Thomas Webb) as he exits the outhouse, and this not at all any type of large stunt, it’s not expensive or intricate, but it looks like absolute dog shit. Small moments like this come off as poorly conceived and executed, which does nothing for the film overall. Only makes the amateur, low budget feel of the movie more evident – this doesn’t always detract from independent cinema, only when it’s painfully obvious, almost pathetically so like here.
The acting is what really does Scarce no justice. While certain elements of the plot and a couple nasty bits of blood are intriguing enough, there’s no good acting to be found. And I don’t care how interesting of a story, or how creepy any of the scenes can get, without solid acting there’s no way any movie can rise above its flaws and feel enjoyable. Although, I have to give it to Steve Warren. Sometimes he can be the worst of them, in terms of performance. All the same, in comparison with his murderous counterpart played by Gary Fischer, his work is decent. In a couple scenes he’s terribly cheesy and forced, but every now and then he’s eerie beyond belief. So even if his acting isn’t close to great, he’s certainly one of the better parts about the performances even if he shits the bed in his role from time to time.
The backwoods cannibal sub-genre in horror has been done time and time again. Many of us horror fans love a good dose of cannibalism, especially if it’s going down in the isolation of secluded, wooded areas. Right back to The Texas Chain Saw Massacre, a personal favourite of mine (and so many others), and all the way up to the mostly yawn inducing Wrong Turn franchise. Most of Scarce just feels lazy. As if the writer-director pair opted to take many of the cliched elements in the sub-genre and jam them into the single plot. A lot of the writing itself is lame. There are absolutely unsettling qualities. However, dialogue such as when Ivan talks about how they’ll soon be “nothing but [his] shit” and other of his/Wade’s ramblings make the story and the its characters more laughable.
Visually, there are some moments I enjoy quite a bit. The biggest is when Ivan and Wade take the guys out in the morning to let them free in the woods, before hunting them with a rifle, and there’s this excellently eerie piece of music from the score along with a stylized, brief sequence of Wade hauling the two victims by their chains, them bloody and worn down. This was a solid, if not too short scene. A little while later once the guys are running through the forest, there are some nice shots. It’s too bad this couldn’t have extended to the rest of the sequences where everything felt overwhelmingly bland. These couple minutes actually look great and then we quickly return to the film’s laziness.
Finally, it’s the hole blown in Ivan that takes the cake for best effect. They probably blew a large portion of budget on this one gag alone, as it’s a combination of CGI and practical work. Nevertheless, it definitely works, and the hole in his torso looks genuine. A nice dose of gore in the the final ten minutes to really try and impress us. Too little too late, but a noble effort indeed.
I can’t give this any more than 1&1/2 stars. Even then I’m not totally sure it deserves that much. Still, there are little elements in Scarce that give you enough to hold onto, if only for a little while. You certainly won’t be blown away, by anything. Not once.
At the same time, give it a chance and at least see the effects. There’s a bit of sloppy gore, some wild blood. I own it simply because I bought it on a whim for $10 somewhere. Definitely not something I’d seek out to buy otherwise. At least there’s partly some spirit of horror alive in this flick. Underneath so much less than mediocre fare.
Wrong Turn 6: Last Resort. 2014. Directed by Valeri Milev. Screenplay by Frank H. Woodward.
Starring Anthony Ilott, Chris Jarvis, Aqueela Zoll, Sadie Katz, Rollo Skinner, Billy Ashworth, Harry Belcher, Joe Gaminara, Roxanne Pallett, Radoslav Paravanov, Danko Jordanov, Asen Asenov, and Kicker Robinson. 20th Century Fox Home Entertainment. Rated R. 91 minutes. Horror.
The shipwreck which was Declan O’Brien at the helm of several Wrong Turn sequels has finally stopped.
With Wrong Turn 6: Last Resort, the reins of the franchise has been handed over to Valeri Milev.
Though I’ve not seen anything by Milev before, I’ve wanted to get a look at his film from 2013 called Re-Kill. However, if this is any indication, I’m not holding my breath on it being something spectacular. The sixth film in this series is not the worst, certainly not, but it’s not good in any way either.
While some of the gore works, and this instalment isn’t hellbent on the awful CGI which plagued O’Brien, there is a serious lapse in the series logic when it comes to the characters and the setting, and in turn the whole plot itself. Not to mention, Milev is far more intent than O’Brien even was in his tenure as director to bring more nudity and sex into the movies. I’m not afraid of a bit of nudity in horror, there are plenty of solid horror films that do have nudity in them, but the only purpose these Wrong Turn films have had, especially those O’Brien directed, to use nudity is simply to try and keep people interested, or to perhaps they truly try and skew towards the male demographic. Either way, there are a ton of problems with this movie, just as much as some of the other entries in the franchise overall.
Wrong Turn 6: Last Resort throws so much of the little sense that exists in the franchise out the window.
Danny (Anthony Ilott) finds out, suddenly, that he has an inheritance waiting for him at the Hobb Springs Resort. He and his girlfriend Toni (Aqueela Zoll), Bryan (Joe Gaminara), Jillian (Roxanne Pallett), Vic (Rollo Skinner), Rod (Billy Ashworth), and Charlie (Harry Belcher) head out to the backwoods for the old hotel.
Of course, lurking in the hills of West Virginia as always are the three brothers: Saw Tooth (Danko Jordanov), Three Finger (Radoslav Parvanov), and One Eye (Asen Asenov). They continue to kill, maim, eat.
At the Hobb Springs Resort, Danny and his friends are greeted by brother and sister creepy duo, Sally (Sadie Katz) and Jackson (Chris Jarvis). The pair are hospitable, if not a little strange. Soon, though, an older vacationer at the resort goes missing. Sheriff Doucette (Kicker Robinson) asks them to keep a look out, pass around a flyer to see if anyone can help find the woman. However, she is long gone – probably chopped up for dinner by the inbred brothers.
Eventually, Bryan begins to discover things about the Hobb Springs Resort, terrifying, dark secrets, and things for him, as well as his friends, will never ever be the same.
So one of my initial beefs happens quickly.
Beginning with the last Wrong Turn entry, there’s this dumb trend of opening the movie with a “clever” (I use that in the lightest sense) way of using the dead/severed bodies of the brothers’ victims to give the number of the sequel. So, for Wrong Turn 5: Bloodlines, it was a severed hand that opened up with its five fingers stretched underneath the title. Now we get Roman numerals all of a sudden – probably because the filmmakers couldn’t figure out a way to plausibly get two hands to show 6 fingers without it looking clumsy. As if it made any differences: two bodies fall roughly in the shape of VI to help us spell out Wrong Turn VI: Last Resort. Just one of the reasons this sequel is another bad one.
When the old woman gets killed, it is so bad. An axe gets tossed at full-force and not only does it throw her back to the wall, it apparently lifts her a foot off the ground before pinning her to it. I mean – it’s almost as bad as the opening kill in Wrong Turn 2: Dead End, which I found to be too over-the-top. Again it’s not like I’m looking for a level of total realism from these movies, but there’s also got to be a degree of logic in some senses. There’s enough brutality in these movies that it can still be effective without having to get cartoonish.
My biggest problem with this one is a combination of things.
First of all, I find Wrong Turn 6: Last Resort to be, by far, the most sexualized of all the sequels. Declan O’Brien started this, albeit only subtly, in Wrong Turn 3: Left for Dead. Even though I personally found the 4th film, Bloody Beginnings, to be better than most, he still got worse with it in that one; right from the opening scenes. Then the 5th went the same. Now, it seems like director Valeri Milev and writer Frank Woodward were intent on making sexuality a large aspect of this story. Some horror benefits from an angle of sexuality – most recently, It Follows uses the premise of sexual encounters to head into very interesting territory, and a few of my favourite classics from David Cronenberg such as Videodrome, Shivers, and Rabid all have sexual elements yet they work to serve a purpose.
Second, I just can’t get past the jumbled nonsense that the Wrong Turn series has become. Starting with the last sequel, Bloodlines, there has been a serious neglect of logic in regards to the characters of these films. I know this is not meant to be expertly crated horror like something you might expect from Rosemary’s Baby. All the same, you’d think they would try to keep the logic together.
I mean, how does this sister-brother combo of Sally and Jackson even fit in? Where did they come from? My understanding, especially from what’s discussed in Wrong Turn 2: Dead End, is that the effects of inbreeding only got worse and worse with each round of procreation in the family. It doesn’t make any sense to me that Jackson and Sally look normal. How are they not raving lunatics just like One Eye, Saw Tooth, and Three Finger? My problem in the last movie was the character of Maynard, and how he was seemingly able to coral the three brothers with a combination of a dominant attitude and physical violence, yet the brothers are supposed to inbred, unruly, wild, and immune to pain!? It just makes no sense, whether someone is supposedly part of the ‘family’ or not, that the three brothers allow themselves to be harnessed and controlled into doing what some third party wants.
Still, it makes no sense how Sally and Jackson are the only two normal, and actually attractive, people between the clans of hillbillies. Then there’s Danny, of course, who they’re trying to lure into the family tradition of brother-sister-cousin fucking, and Danny looks as normal as anybody. These inbred brothers have been around since 1974 – that’s what we know from Bloody Beginnings and its opening scene – so where did these branches of the family come from and how did none of them turn out to look like the brothers? We clearly see there are others involved in these so-called clans, later in the movie, and they’re all haggard, too! So it’s just ridiculous to have these two good looking actors there in the middle of it meant to be part of an inbred cannibal family. Too much suspension of disbelief in this case.
In a Q&A over at Fangoria, screenwriter Frank Woodward actually said he likes where there can be a big world in a story where so many other smaller stories can be told. Unfortunately, Mr. Woodward went too wide with this one and forgot to try and link things together. If perhaps there were some other chains binding Last Resort with the other 5 films, even the last terrible one, then maybe it would have worked a little better. Instead there is a tenuous connection to the series as a whole, and after that takes hold I find it hard to enjoy much else in the movie.
I can give this a 1 out of 5 stars. Honestly, I know some people think I’m nuts for enjoying Wrong Turn 4: Bloody Beginnings the way I do, even though that’s only a 2.5/5 stars for me, not much better than this one. However, at least – for all its bad acting – the 4th film went for the prequel angle, we got to see the brothers before the initial events of the first Wrong Turn film, and it really started to setup a mythos of its own as a franchise, in my opinion. I actually couldn’t stand the 3rd movie, Left for Dead, but I liked that even more than I could enjoy Last Resort. Most of the other movies in this series suffer from poor written – varying degrees, but all suffer from the same symptoms. The problem I have with Last Resort is that it totally fumbles the logic of its own series, as was the case in the last entry, and I can’t get past that. I’m able to get past it enough to rate it better than Wrong Turn 5: Bloodlines, because at least this one had a few good gory moments; that last one was just off-the-wall nonsensical in too many ways.
Either way I cut it, this to me is definitely one of the poorer entries in the series. It pushes way too hard to sexualize the horror, including straight up naked women getting cut up, and to me that’s a staple of 1980s horror I’m not a fan of – I’ve explained this enough already, just does not serve a purpose for me in horror. There are other movies in the genre I do enjoy that have nudity, but they at least back things up with actual terror, some better writing, and decent acting – some of these Wrong Turn movies, especially this one, go too hard for the boobs and blood. I’m not into it. That, coupled with a lack of sense in the screenplay, really makes for an awful film.
I’ll never ever watch this again unless someone kidnaps me and forces it upon me, even then I’d fight like hell. These last two in the series have been just downright garbage. For good backwoods horror maybe check out a classic like Just Before Dawn, or a less horror-ish effort of backwoods survival in Southern Comfort or my favourite of that genre, the obvious choice, Deliverance.
Another one of these on the way for 2017? Oh mercy. I’ll see you then, and we can talk about how awful that might be. Though, I always wait to judge for myself. Maybe someone can breathe life into a series that once had potential, but has long since been ravaged – mostly by Declan O’Brien, now Valeri Milev has joined in on the assault. No idea who will be directing the next one. You can be sure it won’t be anyone too familiar, or maybe they’ll choose someone from the previous pool of directors. Jesus, we’ll see…..
Wrong Turn 5: Bloodlines. 2012. Directed & Written by Declan O’Brien.
Starring Doug Bradley, Camilla Arfwedson, Simon Ginty, Roxanne McKee, Paul Luebke, Oliver Hoare, Kyle Redmond-Jones, Amy Lennox, Duncan Wisbey, Radoslav Paranov, George Karlukovski, Borislav Iliev, Peter Brooke, and Finn Jones. 20th Century Fox Home Entertainment.
Rated R. 91 minutes.
Now, I actually gave Wrong Turn 4: Bloody Beginnings a rating that, in a totally subjective light, it probably does not deserve. However, I can be a sucker for horror movies with a decent bit of practical gore and a creepy asylum out in the woods, and isolated winter settings in horrors, particularly slashers. So, whatever.
But sweet jesus in the garden (I’m not religious that’s just one of those sayings I’d grow up hearing in my days as a good little Catholic boy before I found atheism) – Declan O’Brien seems to have just taken hold of the Wrong Turn franchise and steered it as hard into the ground as he can possibly manage. With Wrong Turn 5: Bloodlines, his efforts get no better. Even worse, the iconic Doug Bradley – immortalized as the villainous Cenobite named Pinhead – shows up here and not only does his character really make little to no sense, he’s just garbage.
I do dig the Wrong Turn franchise simply for the first, second, and yes, fourth, films. Even the fourth is not a good movie overall, but I still dig it. So it’s disappointing to see it keep on going while it gets no better, only worse and worse over time. They’re just milking the entire concept for all its worth, yet – following the metaphor through – there’s no milk left, it’s just like… milking a milked cow? Beating a dead horse works better, but you get the picture.
Although the whole cannibalistic clan in the backwoods trope has been more than fully explore in the horror genre over the years, Wrong Turn as a series has at least had a couple good kicks at the cat (as we say around here – ’cause we’re fucked up where I’m from). Unfortunately, Mr. O’Brien continues to nosedive the series as a whole into the shitter, one bad sequel at a time.
Bloodlines has an even worse plot than the others in the series.
The brothers – Three Finger (Borislav Iliev), Saw Tooth (George Karlukovski), and One Eye (Radoslav Paranov) – along with a serial killer named Maynard (Doug Bradley) escape from the Glensville Sanatorium. They murder people near Fairlake in West Virginia. Complete with very cheesy jokes like when Maynard asks for a hand – and one of the inbred brothers literally holds up a severed hand. HAHAHAHAH SO FUNNY, RIGHT?
At the same time, a group of friends – I won’t bother listing their names because none of it really matters – travel to Fairlake for the Mountain Man Festival during Halloween. On their way, Maynard wanders onto the highway causing the friends to swerve. Naturally the car gets crashed; how’d you know?
When they go to check on Maynard, the old bastard attacks them. They stomp the shit out of the guy until police officers arrive and take the lot of them to lock-up for the night. Of course, one of the young people has drugs on them! So during this big Mountain Man Festival, the friends and Maynard are locked away.
But Maynard warns that his boys are going to come and spring him from the Big House. Everyone thinks he’s talking smack until the brothers descend upon the jail. It’s up to the cooperation between law enforcement, a couple locals, and the out of towner 20-somethings to keep one another alive and out of the grips of Saw Tooth, One Eye, and Three Finger, or their equally disturbed friend Maynard.
First thing’s first – the inclusion of this Maynard character, played by Doug Bradley. Now, I’ve honestly never really seen Bradley in anything other than Hellraiser. Well, Nightbreed, and then there are a couple brief cameos such as during The Cottage, and more recently in Exorcismus. Regardless I love Bradley as Pinhead, there’s honestly nobody else who is ever going to be able to replace him. I feel like certain iconic horror characters, one of which is Pinhead, have such a specific persona that it’s hard to let another actor take that on. For instance, I think it was easier for different people to assume the role of Michael Myers or Jason Voorhees simply because of the silence, the mask; not to say there wasn’t a particular way they both walked, moved, reacted, because there absolutely was, I just feel when it comes to emotion there is none with them so it didn’t require too much true acting (not meant to disrespect the wonderful actors who’ve played both Michael and Jason – much love and respect to them!). But when you look at someone like Pinhead or Freddy Krueger, their vocal tone and the way they say things, though able to be replicated within a certain degree, is a specific part of the character’s make-up. I mean, the newest Nightmare on Elm Street, the terrible remake, had an amazing actor (Jackie Earle Haley) play Freddy, but you just can’t have Freddy with Robert Englund. You can’t, because that guy has the charisma of Freddy; he is, was, always will be Freddy.
So, that was a ramble, about completely different movies. Just saying, I love Doug Bradley. Solely because of Pinhead. In Wrong Turn 5: Bloodlines, he does his best with what he has been given by writer/director O’Brien, but the character of Maynard makes no sense. He takes up a good chunk of things at times during a film that’s centred on the bad guys being inbred backwoods hillbillies, crazy cannibals, yet there’s Maynard, an apparent serial killer, all smooth talking and normal.
It makes no sense. I hate his character.
Even worse is the fact that he’s not just a bad character, Maynard – he is jammed into the script, messing with an already feeble story. Maynard sort of bosses these brothers around, and that’s just completely nonsensical. I’m not looking for the Wrong Turn series to reinvent or innovate the horror genre, turning it in some new direction. I’m not even looking an elaborate plot. However, there’s got to be common sense, even in this survival horror type of stuff these films have going on. What I’m saying is – there’s an early scene where Maynard cranks one of the inbred brothers with a wrench, the cannibal goes down. He grabs his face, looking as if he’s hurt.
SORRY DECLAN! YOU SHIT THE BED THIS TIME!
These inbred cannibal brothers are said to have a condition where they can’t feel pain – I forget the exact name. They say it in Wrong Turn 4: Bloody Beginnings, back in the 1974 scenes at the asylum. Yet Maynard whacks the guy with a wrench, that’s all there is to it. I mean, c’mon! If this were any bit sensible, the brother wouldn’t have even moved with the wrench’s force, he wouldn’t murdered that Maynard idiot, and moved on to the next kill.
Then it leads me to: how did Maynard ever get to a point where he was able to reason with these brothers anyway? They’ve got no loyalty other than to one another. Anybody they come across it seems the brothers just attack, kill, eat, whatever. So how did Maynard manage to even gain dominance over them? Sure, I’m reading way too deep into a cannibal horror movie. But am I? This movie, the whole series, is not complex, so can’t Declan O’Brien at the very least write a decent script that’s logical? Not really that hard. This could’ve just had sensible writing, if anything, and even with all the terrible dialogue O’Brien comes up with there at least would be common sense, characters that weren’t just thrown in for no apparent reason.
There’s not a single redeeming quality in the entire movie – acting is all atrocious, even Bradley can’t save the sinking ship, and the blood/gore is all as bad as it gets in any of the films. At least early on the practical effects were still decently done, well enough to keep a horror fanatic interested (I think most of that died after Wrong Turn 2: Dead End & Joe Lynch).
Wrong Turn 5: Bloodlines is a 0 star film. I really can’t bring myself to give it any stars whatsoever. There’s nothing worth giving a star. Not even Bradley, because the character itself is so god damned useless to the whole story overall that it boggles my mind.
Declan O’Brien can’t even keep together the meagre plot of the film because he seems to have trouble following the logic of the Wrong Turn series, and worst of all he can’t keep straight things that he himself wrote in previous instalments. I wonder how much they offered Doug Bradley to do this movie, I’m also pretty curious if they looked at anyone else other than him first in terms of well-known horror names – because obviously the character of Maynard was an excuse to put a recognizable face into the film. There’s no other reason to have that character in there unless to put someone noticeable in the part, it did not in any way add to the film’s story and certainly was not a memorable character. Not to mention there’s a sequel, and I’m more than positive Maynard is nowhere to be found there. Makes no sense whatsoever.
If you want to complete the whole series, go ahead. Otherwise just skip this piece of garbage. They replaced O’Brien for the next sequel, not that it would do much of anything to help. This series has gone steadily downhill since the first film, though the second was good (plus I’m guiltily into the 4th movie). Time to call it quits, but I hear they’re setting up a 7th instalment for 2016/2017 release. Wow.
Wrong Turn 4: Bloody Beginnings. 2011. Directed & Written by Declan O’Brien, based on characters by Alan McElroy. Starring Jennifer Pudavick, Tenika DAvis, Kaitlyn Leeb, Terra Vnesa, Ali Tataryn, Samantha Kendrick, Victor Zinck Jr, Dean Armstrong, Sean Skene, Blane Cypurda, Dan Skene, and Scott Johnson. 20th Century Fox Home Entertainment.
Rated R. 93 minutes.
★★1/2Declan O’Brien did not impress me with the previous instalment, Wrong Turn 3: Left for Dead, but I’ve got to say I like this one at least a little better than that.
Bloody Beginnings doesn’t particularly pull out all the stops, it isn’t a masterpiece – not by any stretch of the imagination – but aside from the acting, and some of the dialogue, the blood and gore pleased me for a good slasher, and the kills were vicious. This is by all means a slasher movie; a little different from run-of-the-mill horror. I think slashers need to be judged a little differently than other sub-genres of horror, that’s why this one gets a little better of a rating than the previous Wrong Turn disaster under O’Brien’s care.
The premise of Wrong Turn 4: Bloody Beginnings is the origin story of the inbred cannibals in the West Virginia Mountains. We start off in 1974, at the Glenville Sanatorium in W.V, where the three cannibal brothers are patients, locked away for their own safety and that of others. They manage to escape, killing anyone and everyone in their path. Cut thirty years later – a group of friends go snowmobiling in the woods, eventually ending up at the now supposedly abandoned Glenville Sanatorium. A storm rages outside. After not too long, the friends discover someone is still checked in at the old asylum, and the brothers emerge from the depths to carve themselves up a bit of fresh meat to throw on the fire: nothing like a bit of lunch on a quiet, stormy winter’s night.
Immediately, I loved the first scene when I saw it. You’ve got some great elements going on: the creepy asylum, the West Virginia deep woods, patients going wild, and then the three brothers. The use of classical music over the end of the opening scene is excellent, I love when filmmakers put classical or old style music over horror, or any intense situations on film; the juxtaposition makes for something interesting, you almost want to smile until you remember what’s going on in front of you. There’s just utter madness throughout the opening bit. When the three brothers kill the doctor it is a great, wild kill, and certainly sets the tone. It looks good, too. I was afraid O’Brien would pull out a kill like the first one in Wrong Turn 3: Left for Dead, which looked horrible – and not in any sort of good, practical effects type way, it was cheesy and CGI’d to death. This one was gory fun.
I don’t like that O’Brien felt the need to go for nudity again right off the bat. I’m fine with sex scenes, if they serve their purpose; I don’t need to watch a movie for sex. And yeah, it’s a staple of 1980s slashers, but the 80s this ain’t, and the nudity in this was just silly. The first scene with the main characters came off needless, when O’Brien could’ve used that time to really jumpstart our emotions towards the leads – instead, you don’t really care about any of them, not at the start, not much in the end.
Furthermore, the acting in this was not good. A couple people held their own, but much of the acting came off wooden, very stilted. The only real emotions I bought from anyone of these characters was fear; development-wise, they didn’t do much for me. I honestly felt bad a little for the Daniel character [Dean Armstrong] because he was the only sensible, nice guy of the males in the film. Unfortunately Armstrong’s acting is a bit stiff, and he didn’t pull me in far enough with the empathy. The other guys I certainly did not relate to because they were foolish characters. This is the biggest problem for Wrong Turn 4: Bloody Beginnings, the characters don’t catch us and make us care enough for the kills to pay off in the way they are meant to for a slasher; we should care about them, so when they die it’s either a shock or it makes us emotional. The script isn’t perfect, though, it wasn’t so bad a group of solid actors could’ve have made things work. These actors aren’t the worst, but they’re far from the best. Horror needs good acting, or else so much of the framework of a horror film will fall flat on its face.
The kills are my favourite part of this entry in the series.
When they first killed the doctor I anticipated there might be some better deaths in this movie than in the last one, which relied too much on computer generated-looking junk that ultimately does not sell itself. Here, there are some great practical style effects. Those types of kills in horror always come off more effective because it’s visceral, you can see and almost feel the skin peel off, slice open, bleed, and it makes for a better reaction.
In the auditorium of the asylum, one of the girls is killed (one of the couple pictures above), and it works so well. The blood is plenty, and the reaction of the guy trying to grab onto her feet as she hangs from a barbed wire-like noose is perfect: he screams a wild, high yell, his face getting covered in the blood running faster and faster with every second from her open wound of a neck. You almost want to laugh at the scream this guy lets out, but it is perfect. It struck me as absolute shock and terror. Plus, the blood work is incredible. Great stuff.
I hate the term “torture porn”. So silly. I understand what it means, and the intentions of such a term in trying to describe the types of films that run under that banner, but – aren’t slashers meant to be full of blood and kills and carnage? Yeah, I get that some of it is overkill, what I don’t get is how relevant that is to anything. A slasher is a slasher is a slasher. You can try to spice things up – I loved You’re Next and thought it was a fresh new slasher flick for the modern era – but a slasher will always be made up from some basic elements: one of which is gore. What else do people expect a bunch of cannibals stuck in an asylum out in the deep woods of West Virginia are going to do? You think they’re going to all of a sudden start hunting? No, they’re going to eat people, they’re going to chop them up and make new dishes out of them – stir fry and all kinds of crazy concoctions – and it’s going to be a big, bloody, rotten mess. That’s what I came here for, anyways.
People will say I’m mental, but I’ll give this a 2.5 out of 5 stars. There is effort here, regardless if you can’t seem to notice right away. The horror element of this movie really works, for me at least. All the gore and the kills and the creepiness pays off. Whereas in Wrong Turn 3: Left for Dead there’s a lack of both good horror and any decent acting, this entry into the series gives us some worthy terror, packed with savage, bloody murder, and plenty of brutality to make things worthwhile. If that isn’t what you’re looking for, then go watch a ghost story, or a haunted house movie – or anything else than a slasher. Because if you’re looking for a slasher… there will be blood.
Wrong Turn 3: Left for Dead. 2009. Directed by Declan O’Brien. Screenplay by Connor James Delaney, based on characters by Alan McElroy. Starring Tom Frederic, Janet Montgomery, Gil Kolirin, Christian Contreras, Jake Curran, Tom McKay, Charles Venn, Tamer Hassan, Jack Gordon, and Borislav Iliev.
20th Century Fox Home Entertainment.
Unrated. 92 minutes.
★1/2 I don’t like to specifically rag on a director because directing can be tough, although, that’s what critiquing is all about in the end. Declan O’Brien doesn’t exactly have the greatest track record when it comes to his filmography as a director. He’s done a lot of sequels, including Joy Ride 3, plus Sharktopus, as well as both Wrong Turn 4: Bloody Beginnings and Wrong Turn 5: Bloodlines. Now, while I do actually enjoy the 4th film of this series, I can’t say I like the 5th, and that brings me to Wrong Turn 3: Left for Dead.
What a pile this movie is, if it weren’t for a half decent performance from a couple people and at least a different story than the usual “people wander into the deep woods and get murdered by cannibals”, then this would be completely useless in every single way. Not that it’s good, at all, but at least it has one or two small redeeming qualities amongst the garbage.
The third film in the Wrong Turn series begins with the obligatory opening scene of people being killed, only this time a girl survives and runs off. Meanwhile, a notorious prisoner is being transported by some prison guards, along with several other inmates, and on the way they are thrown off course, their bus crashes, and the guards are then at the mercy of the criminals. Then come the inbred cannibals, raving from the woods, shooting arrows from bows and throwing knives and generally destroying anything and anyone who comes across their path. The surviving girl from the beginning meets up with the guards and the inmates, then they all try to survive the woods together, as the cannibal brothers descend upon them with blood and madness and murder.Right off the bat there’s needless nudity, and I’m not someone who needs to get my daily fill of breasts on film, thank you very much. Sure, if there’s some reason calling for a little bit of nudity, that’s fine, but I’ve got no time for horror movies that try to fill time with naked women. There are some 1980s horrors I don’t mind even though there’s a bit of shameless nudity, because there was a certain charm to slashers from that era that had the whole “don’t have sex or do drugs or drink or you’re dead” thing going on. I just think nowadays it’s a bit tired, and the opening scene here was not called for, no need.
Then there’s an awful bit of CGI for a kill in that beginning scene that was just… whoa. Brutal. Funny because afterwards it looked like practical effects, and yet the kill itself, as a guy literally tears apart, looked to be terrible graphics. It was laughable, I actually cracked up. One of the things I loved about Wrong Turn and Wrong Turn 2: Dead End was the fact they did some great gory stuff with practical effects, you got to see good blood and guts and it looked plausible. This one gag just throws all that out the window. They obviously used some practical stuff in the aftermath of that kill, or at least it looked that way, so it boggles my mind why they couldn’t manage to pull the whole kill off that way. We’ll never know.
There only comes more terribly done kills, for the most part anyways. There’s a horrid face-cutting kill that just blew me away how wretched the effects were and how fake they looked. Very few effects are decent – one knife to the side of a prison guard’s neck is done well, even though it’s not super gory or anything too extreme; it went off well enough to be enjoyed, for a brief instant anyways. The most decent bit of blood was when the cannibals hooked the loudmouth prisoner with all sorts of barbed wire and hauled him off, and even that wasn’t too special.
I can’t recommend this at all. I gave it 1.5 out of 5 stars because there are at least a couple actors who aren’t complete rubbish, even if the dialogue is crap for the most part. Not all the performances were good, and none of them were great. At least the main guards were all right, a few of the prisoners were annoying, but overall it could have been much worse. The acting gets worse and worse as the whole series goes on. Stay away from this one. Most people hate all the rest, I actually enjoy part of the next entry – Wrong Turn 4: Bloody Beginnings. That being said, from here on in none of the films measure up to the first two in the series, so proceed with caution; you won’t be too enticed by any of the films that follow this one, even if I do enjoy the next instalment.