Gotta watch for those deer and rednecks.
George (Jake Weber) is on assignment for his photography job and is supposed to head up into upstate New York and take some pictures. Seeing as how this could be a nice, lovely and enjoyable little vacation for him and the rest of his family, the three all decide to go up and enjoy some times in the wilderness. That is, well, until they actually get there. On the way up, they have some car trouble, run into a bunch of mean locals who don’t like out-of-towners coming into their place and taking over, and hit a deer. So yeah, not the best way to start out the trip, but it gets a bit worse. George’s wife, Kim (Patricia Clarkson), starts feeling more tense the more she’s up there, whereas the young son, Miles (Erik Per Sullivan), doesn’t quite know what’s going on. He’s imagining some weird, horrific things in his mind, but he doesn’t know whether or not they’re real, make believe, or things that just occur when you’re in this part of upstate New York. Either way, the weekend does not go by as expected.
Writer/director Larry Fessenden does something very interesting with Wendigo, in that he makes a horror flick, that would be played for the art-house crowd. Meaning, he doesn’t just give us all the typical blood, guts, ghosts, ghouls and monsters right off the bat, just as we’d expect from your typical, standard horror-fare; in place of that this time around, there’s character-development, a sense of time, place, and mood. In other words, it’s smart film-making and writing, which isn’t something I can say too often about movies within the horror genre.
Then again, though, there is that final-act where Fessenden himself throws everything out the window.
But hey, let’s not talk about that right away. First, with the good stuff. For one, Wendigo has a very solid first two-acts, in that we’re never too sure where it’s going to end up, what it is, or better yet, what sort of genre is being played with. In a way, Wendigo‘s first two-acts are far more based in the psychological-thriller territory, as there’s some freaky and odd imagery, but never any actual idea that there’s going to be any sort of supernatural presence at play – what we get, is a bunch of random people, acting weird and rude, for almost no reason. It’s like a horror movie, but with real people, in place of all the monsters, which is actually a whole lot scarier if you stop and think about it.
But then, Fessenden ups the ante by actually, believe it or not, giving us characters that we can not just identify with, but actually come to learn to love and grow with, as time goes. Sure, these three protagonists are playing the standard, middle-to-upper-class, cutesy, harmless family, but there’s something heartfelt and interesting about their dynamic; there’s some signs that George may be a bit of a hard-ass and Kim may be smarter than she lets on, but for the most part, they’re a nice, lovely, little family to watch. And that’s why the first-half of Wendigo is spent on them, watching them as they interact with one another, with others, and just in general.
Once again, not all that groundbreaking stuff in film as a whole, but considering that this is a horror film we’re talking about here, yeah, some shocking and refreshing stuff.
But then, like I stated before, it sort of all goes out the window. This isn’t to say that Fessenden forgets to build up on the tension and suspense throughout, because he definitely does, but when it comes time to get the pay-off for all that suspense and anticipation, well, it doesn’t quite deliver. Without saying too much, Wendigo eventually turns into a full-on, all-out horror flick, that doesn’t hold back on any image and isn’t at all near being subtle. For a typical horror flick, I know that this is something to be accepted, but Wendigo isn’t that typical horror movie – it’s something far smarter and more interesting, yet, ends on a note that could have been mistaken for a Friday the 13th movie.
Okay, maybe it’s a bit harsh to say, but it’s a shame to watch a movie that you’re digging so much and trusting, and then, to have that rug pulled-out from underneath of you. It’s as if, in his head, Fessenden knew that he had a good movie to work with, but only knew at least 2/3’s of it, to put it to paper – the rest, as they say, was sort of made-up on the spot and that’s what seems to have happened with Wendigo. All of his hope, faith and strengths went into the earliest portions of the movie, but when it came to the home stretch and having us leave on a good note, well, he dropped the ball.
Don’t know why there’s so many sports metaphor, but so be it. I’m bummed.
Consensus: Even though Wendigo starts off as a smart, thoughtful and interesting horror-thriller, it eventually turns the other cheek and gets way too crazy and silly, abandoning any sort of hope one might have had for something new, or refreshing within the genre.
6 / 10
Photos Courtesy of: Horrornews.net