An undead monster is revived and seeks revenge of a group of teens
, the idea was to spell out all the conventions we all already knew. But there’s a longer list not included in that primer, tropes that have become universal subtext. Like, undead slashers walk slowly. For the audience, that slow-motion morbidity means added tension, often amplified by screeching strings or primal panting on the score.
But what would it be like to be that slow-moving menace? To meander through nature, trundling across verdant fields or between the boughs of shady trees? That’s seemingly the thought behind, a revisionist slasher from Canadian filmmaker Chris Nash.
The story of the return of the White Pines Murderer is absolutely by-the-numbers, right down to Johnny’s backstory being recounted around a campfire. It’s the pacing and the perspective that make the difference. There are no jump scares, because it would be Johnny doing the jumping: Instead, it’s the set-up to the jump, the image of him tensing his muscles.
That’s where Nash diverges from the other “slow” filmmakers: Put simply, Kore-eda doesn’t do this many decapitations, and if Nash had written this as a straightforward backwoods slasher he’d be lauded by the horror community for some of the year’s most innovative deaths. He knows the genre, and isn’t above some subtle Easter eggs, like a brief cameo by Lauren-Marie Taylor are intended for parents and their children younger than 6. Showtimes at this venue are subject to frequent change.
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