Written by Adam Mast
Photos and video blog by John Pugh, Jeff Sanders, and Cragun Clayburn
It doesn’t get any better for a horror fan than having an opportunity to experience a truly exceptional genre film at the very location that inspired Stephen King to pen “The Shining.” Welcome to The Stanley Film Festival. Located right outside of the breathtaking Rocky Mountains in Estes Park, CO, the 3rd annual Stanley Film Festival dazzled and scared the shit out of attendees for four gloriously terrifying days, and while there were plenty of films to get exited about at this outstanding fest, there were a handful of movies that are worth highlighting.
The terms “slow-burn” and “psychological horror” were thrown around quite a bit at the fest this year, and while efforts like “The Boy,” “Sun Choke,” and “Goodnight Mommy,” were well received and offered up strong attributes, the majority of the titles that appealed to the horror lover in me were a little more straight forward in their approach. I took in 15 screenings and 5 filmmaker interviews in 3 days. Here’s a look at my favorite film from the 2015 Stanley Film Festival, followed by a few honorable mentions.
“THE FINAL GIRLS”
One doesn’t generally use the words “affectionate” and “adorable” when describing a slasher flick, but then again, director Todd Strauss-Schulson’s wonderfully creative “The Final Girls” isn’t exactly a conventional work of horror. This love letter to the likes of Jason Voorhees briskly cruises along by way of a meta vibe that might remind one of “Cabin in the Woods.” It definitely has a bit of a “Pleasantville” ring to it as well. In fact, this flick is so meta in the way that it plays with and deconstructs specific genre tropes that another appropriate title for this wildly entertaining movie might have been “The Last Slasher Hero.”
In “The Final Girls,” teen Max Cartwright (played by Taissa Farmiga) struggles to cope with the tragic and untimely death of her loving mother, Amanda (played by Malin Akerman), an ‘80s scream queen primarily known for her work in a popular slasher film called “Camp Bloodbath.” Through a strange, fantastical phenomenon, Max and her high school pals find themselves magically transported into the “Camp Bloodbath” universe where ultimately, the grieving teen teams with her own mom in an effort to defeat a psychopath hell-bent on murdering anyone he comes into contact with. Yes, this is essentially a mother/daughter story but with quite an innovative twist.
What a joy “The Final Girls” is. Some might be quick to suggest that perhaps this flick is a little too clever and cute for its own good, but the truth is, the key to its overall success is its sheer likability. What really separates this picture from a lot of the films its skewering is that it gives us characters worth caring about. Akerman is fantastic in this movie. In fact, it might be her career best. As Amanda’s daughter Max, Farmiga (the real life sister of Vera Farmiga) is a natural. She’s vulnerable and sweet in equal measure. Together, Akerman and Farmiga’s mother/daughter bond feels genuine. So genuine in fact that the end of “The Final Girls” was far more emotionally satisfying than I thought possible for a film of this nature.
While Akerman and Farmiga are the glue that holds this flick together, they are assisted by a terrific supporting cast. The standouts are Adam DeVine as an ego-maniacal lady’s man and a positively hilarious (and gorgeous) Angela Trimbur as the token slutty camp counselor (her hyped up dance sequence is amongst this film’s many notable highlights).
If I have a complaint here, it’s that I wish “The Final Girls” were a little longer. The film has great pacing and never outstays its welcome, but had it been just a tad longer—and had Max and Amanda’s “Camp Bloodbath” character had more time to bond in the movie universe—“The Final Girls” might have emerged as an instant classic. As it stands, it’s still one of the most entertaining movies of the year.
With its imaginative deconstruction and endless winks at the numerous films that inspired it, “The Final Girls” is sure to appeal to fans of slasher movies, but there’s so much heart, warmth, humor, and playfulness here, that even if this genre isn’t you’re bag, you too are likely to succumb to its many charms.
“The Final Girls” won the Audience Choice Award at this year’s fest, and it was completely deserving of the honor. It’s a damn shame that audiences have to wait until October to discover this gem for themselves, but then, October is a perfect time to see it.
OTHER NOTEWORTHY 2015 STANLEY FILM FESTIVAL HIGHLIGHTS:
“COOTIES”
In “Cooties,” Elijah Wood plays a middle school teacher who joins forces with other staff members in an attempt to survive the night after the school’s prepubescent students contract a deadly virus and turn into rabid monsters. Screenwriter Leigh Whannell also co-stars, and he’s an absolute riot in this picture, as is Rainn Wilson as a physical education teacher with a bit of a chip on his shoulder. Admittedly, I wish “Cooties” was a little more extreme, but the premise alone is a hoot and the cast is terrific. A fun movie that never takes itself too seriously.
“DEATHGASM”
In this high energy horror/comedy fusion, New Zealand-based writer/director Jason Lei Howden tells a tale of two metal head buddies who accidentally summon an ancient demon in an effort to escape their mundane lives. What follows is a hilariously bloody story of friendship, young love, and heavy metal music. This ode to Sam Raimi and Peter Jackson is a blood soaked gem from start to finish.
“LET US PREY”
This Scottish import from director Brian O’Malley is a pitch black comedy about a stranger who comes to town and quickly throws a police station into complete and utter chaos. Essentially, this is “Assault on Precinct 13” meets “Needful Things” with a dash of “Devil” thrown in for good measure. It is beautifully edited, expertly written, and punctuated by razor sharp timing, with a great cast led by a convincing Liam Cunningham as the mysterious stranger.
“THE TREAMENT”
“The Treatment” had the honor of being the most upsetting film I took in at the fest this year. It was also one of the best. This Belgium import from director Hans Herbot features Geert Van Rampelberg as a police detective involved in a disturbing child abduction case. As it turns out, his obsession with solving this particular case runs even deeper because of an unforgettable incident from his youth. This is a dark procedural thriller with shades of “Silence of the Lambs” and “Seven,” and while I found it profoundly disturbing and extremely upsetting, it is incredibly well made and transfixing in all the ways a great thriller should be.
“WE ARE STILL HERE”
This perfectly atmospheric (and funny) ghost story from Ted Geoghegan treats its haunted house as a character rather than just a mere location. At the heart of “We Are Still Here” are Anne and Paul Sacchetti (played by Barbara Crampton and Andrew Sensenig), a married couple who move into a creepy New England home with quite a creepy history. While this throwback flick has shades of Lucio Fulci’s efforts of the ‘70s and ‘80s, it also reminded me a bit of John Carpenter’s “The Fog.” “We Are Still Here” benefits from terrific work by Monte Markham, Barbara Crampton, and Larry Fessenden, but its Geoghegan’s sense of style that truly elevate the proceedings. “We Are Still Here” builds to a fever pitch, and it’s genuinely scary throughout. This is the creepiest movie I’ve seen since “The Babadook.”
“WHEN ANIMALS DREAM”
This elegant, dreamlike drama puts a new twist on werewolf mythology. In fact, at the risk of misleading readers, I’d say parts of “When Animals Dream” play like a serious version of “Teen Wolf.” In this restrained monster movie, teenager Marie (played by Sonia Suhl) finds that she’s going through changes that she doesn’t entirely understand. Ultimately, “When Animals Dream” suggests that there’s nothing at all wrong with being a little different. The film also points out that no matter how different you might feel, there’s always going to be someone out there who loves you. The most honest, heartfelt werewolf movie since “Ginger Snaps.”
