Even for a slasher movie, 2003’s
Wrong Turn is elemental in its efficiency. Minimal effort is expelled in setting up the stalk-and-kill plot, and the characters are uniformly one-dimensional. Despite or perhaps because of this simplicity, one subtextual element stands out: Much like the Sawyers in
Wrong Turn’s clan of inbred cannibal mutants (or is it inbred mutant cannibals?) can almost be seen as simple farm folk defending their land. Toward the beginning of the film, a gaggle of obnoxiously citified young people break into a secluded mountain homestead under the pretense of finding a phone. They then proceed to rifle through the occupants’ belongings, opening drawers, pawing family heirlooms, and smelling the Tupperware in the refrigerator like a gang of horny raccoons. When a beat-up pickup truck comes rumbling up the driveway moments later, their fate is sealed. Maybe if they had minded their own business and just kept walking, they’d have made it down the mountain
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Like
a phoenix from the ashes of 2020, Dunedin Fringe Festival
returns in March 2021 with a diverse and eclectic line-up of
more than 80 events across the city and online.
An
unmissable highlight in the festival calendar, this year s
hybrid festival - combining live and online events - will
deliver something for everyone, across visual arts, theatre,
comedy, cabaret, music and more.
The Fringe programme
has come to be known for it s A-class comedy line up and
this year is no different. The inimitable Emerson s Festival
Theatre will feature a stellar programme including NZ s
snapchat superstar Tom Sainsbury, Chris Parker performing
the world s first comedy felting show, a debut with shocking
WRONG TURN Review–Bloody Horror Remake Gets Political By Chad Collins
Written by Alan McElroy
Directed by Mike P. Nelson
The slasher craze of the early to late eighties had one principal goal in mind: rack up as large a body count in as little time as possible. Sincere development, nuance, and humanity were often tossed aside for austere and penny-pain archetypes. Jocks, for instance, died while virginal final girls lived. Wes Craven’s
Screamand the slashers of the mid-to-late nineties augured in a more critical slasher lens, one imbued with meta-awareness and broader social horizons. The core cast of potential victims shrank, the scope expanded, and the budgets ballooned. It was at the tail end of this era that the first