(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Six friends' end-of-summer cabin party turns deadly when they discover they're not alone in the woods. Their weekend of drinking and fun becomes a fight for survival with an unwanted visitor.”
Folks, believe it or not, I personally go to great pains to avoid picking on independent features.
I’ve been told by several industry types that such a practice perturbs them, and even one or two have called me out for being “too easy” on these smaller efforts. In a world where I can see a glass as either half-full or half-empty, they would require that I choose the latter each and every time, otherwise I’m committing some kind of affront to the world of cinematic criticism. However, I often counter with there’s nothing wrong with applying the Golden Rule when thinking and writing about film; and I’ve found my enjoyment of a great many smaller pictures increased by finding something good to say it. Ultimately, I can only be me; and if that offends then readers are always free to request a refund. (snicker snicker)
Still, there are releases that come my way that don’t manage to meet that bar. As much as I ruminate over them, I struggle to find a worthwhile observation to pony up that extends beyond a superficial matter big or small. That’s the case today with Fear Cabin: The Last Weekend Of Summer, a 2024 effort from writer, director, producer, stunt coordinator, and actor Brian Krainson. This spooky business feels only loosely scripted – the kind wherein an F-bomb or two or three gets thrown in so often it could be a drinking game – and never quite adds up to anything in the last reel. Though I can appreciate the blood, sweat, and tears committed, maybe that would’ve been better applied elsewhere?
The film opens with a flashback that could’ve used a bit of explanation: something dark and grim is happening to a young woman and a young man who appear to be from a bygone age (or are Amish?). Without any significant context, we see them succumb to a dark fate – bones are cracked, bodies are suspended in mid-air – only then we’re catapulted into the modern times where a bunch of twentysomethings are living life to the fullest in a backyard swimming pool.
Now, stylistically, this was rather prescient on screenwriter and director Krainson’s part. The juxtaposition of youth fighting for their lives alongside today’s carefree hipsters sends the message that times have indeed changed – for the better, it would seem – but there are always dark elements afoot that can invert existence seemingly at the flip of a coin. Many, many great Horror films have used such a framework with which to position the narrative for what’s to come, so hats off to – minimally – getting things going on the right foot.
From there?
From the film’s IMDB.com page citation:
“Six friends' end-of-summer cabin party turns deadly when they discover they're not alone in the woods. Their weekend of drinking and fun becomes a fight for survival with an unwanted visitor.”
Folks, believe it or not, I personally go to great pains to avoid picking on independent features.
I’ve been told by several industry types that such a practice perturbs them, and even one or two have called me out for being “too easy” on these smaller efforts. In a world where I can see a glass as either half-full or half-empty, they would require that I choose the latter each and every time, otherwise I’m committing some kind of affront to the world of cinematic criticism. However, I often counter with there’s nothing wrong with applying the Golden Rule when thinking and writing about film; and I’ve found my enjoyment of a great many smaller pictures increased by finding something good to say it. Ultimately, I can only be me; and if that offends then readers are always free to request a refund. (snicker snicker)
Still, there are releases that come my way that don’t manage to meet that bar. As much as I ruminate over them, I struggle to find a worthwhile observation to pony up that extends beyond a superficial matter big or small. That’s the case today with Fear Cabin: The Last Weekend Of Summer, a 2024 effort from writer, director, producer, stunt coordinator, and actor Brian Krainson. This spooky business feels only loosely scripted – the kind wherein an F-bomb or two or three gets thrown in so often it could be a drinking game – and never quite adds up to anything in the last reel. Though I can appreciate the blood, sweat, and tears committed, maybe that would’ve been better applied elsewhere?
The film opens with a flashback that could’ve used a bit of explanation: something dark and grim is happening to a young woman and a young man who appear to be from a bygone age (or are Amish?). Without any significant context, we see them succumb to a dark fate – bones are cracked, bodies are suspended in mid-air – only then we’re catapulted into the modern times where a bunch of twentysomethings are living life to the fullest in a backyard swimming pool.
Now, stylistically, this was rather prescient on screenwriter and director Krainson’s part. The juxtaposition of youth fighting for their lives alongside today’s carefree hipsters sends the message that times have indeed changed – for the better, it would seem – but there are always dark elements afoot that can invert existence seemingly at the flip of a coin. Many, many great Horror films have used such a framework with which to position the narrative for what’s to come, so hats off to – minimally – getting things going on the right foot.
From there?
Well, the script rather quickly chucks aside the established relevance in favor of the usual antics. Our band of potential victims gather in a big SUV and head out of town for what promises to be a gala occasion of drinking and general hell-raising. En route, they encounter a police roadblock being dismantled; and they learn from a rather stoic LEO that something bad has just taken place ‘round here. In stereotypical fashion, the cop eyes these young’uns with just enough suspicion to be doing his job, and then he encourages them to all be safe at the final destination.
Unless I missed it, this opening set-up provides no authentic payoff whatsoever. In other words, whatever accident befall whoever wandered into this off-the-beaten-path territory never comes up again, leaving it an absolutely unnecessary plot point thrown in for no good reason. If it does tie in to the shadowy events which follow (and, sure, it still could), then I’m at an abject loss to clarify what such a linkage is. Why, it’s almost like it didn’t need to be there, except to introduce a friendly face (the cop) who does show up very late in the proceedings.
Once our band of merrymakers arrive at the ‘Fear Cabin’ of the title, Cassie (as played by Jennifer Barlow) is scared silly by a rather grim looking fellow, apparently the caretaker to the place. In the usual Horror film trope, he sets down the ‘rules’ these characters must follow, which basically amounts to “don’t bother the graves” without actually telling Cassie where said graves might be anywhere on the property. As one can guess, this is precisely what transpires: our good lady has to pee that evening, and she inadvertently squats and lets her stream rain right onto the flat concrete marker bearing the name of a witch hung ages before in this very spot.
In customary style, the dead are offended; and now ‘The Witch’ begins piling up bodies.
Alas, the more I think about Fear Cabin, the less its slim story makes sense.
First, Krainson expects audiences to believe that authentic specters of the netherworld somehow would go to the trouble to both maintain a wooded BNB – as well as the required internet presence along with a corresponding Paypal, Venmo, or ApplePay account – in order to corral would-be weekenders to the spooky place in order to reduce them to victims. This is the height of silliness – the biggest offence made by the entire script – and it could’ve been averted in so many ways its downright laughable … but, apparently, everyone involved thought it was good, so here we are.
Second, the script is structured so that a great deal of exposition is handled via dream sequences. In them, our young victims-in-waiting learn of the previous events that took place on this otherwise idyllic property – the witch’s hanging, the resulting bouts of demonic possession, etc. – but there’s no rational explanation for why the dead would be trying to educate folks in the real world. Are these visions the cries from beyond the grave of the Witch’s casualties trying to alert others to the dangers if they stay? Well, if so, then why not be a bit more specific? The sequences are interesting enough, in all honesty, but without the context for why these rebel rousers needed to know them they wind up feeling like vignettes thrown in to give the picture a longer running time.
Unless I missed it, this opening set-up provides no authentic payoff whatsoever. In other words, whatever accident befall whoever wandered into this off-the-beaten-path territory never comes up again, leaving it an absolutely unnecessary plot point thrown in for no good reason. If it does tie in to the shadowy events which follow (and, sure, it still could), then I’m at an abject loss to clarify what such a linkage is. Why, it’s almost like it didn’t need to be there, except to introduce a friendly face (the cop) who does show up very late in the proceedings.
Once our band of merrymakers arrive at the ‘Fear Cabin’ of the title, Cassie (as played by Jennifer Barlow) is scared silly by a rather grim looking fellow, apparently the caretaker to the place. In the usual Horror film trope, he sets down the ‘rules’ these characters must follow, which basically amounts to “don’t bother the graves” without actually telling Cassie where said graves might be anywhere on the property. As one can guess, this is precisely what transpires: our good lady has to pee that evening, and she inadvertently squats and lets her stream rain right onto the flat concrete marker bearing the name of a witch hung ages before in this very spot.
In customary style, the dead are offended; and now ‘The Witch’ begins piling up bodies.
Alas, the more I think about Fear Cabin, the less its slim story makes sense.
First, Krainson expects audiences to believe that authentic specters of the netherworld somehow would go to the trouble to both maintain a wooded BNB – as well as the required internet presence along with a corresponding Paypal, Venmo, or ApplePay account – in order to corral would-be weekenders to the spooky place in order to reduce them to victims. This is the height of silliness – the biggest offence made by the entire script – and it could’ve been averted in so many ways its downright laughable … but, apparently, everyone involved thought it was good, so here we are.
Second, the script is structured so that a great deal of exposition is handled via dream sequences. In them, our young victims-in-waiting learn of the previous events that took place on this otherwise idyllic property – the witch’s hanging, the resulting bouts of demonic possession, etc. – but there’s no rational explanation for why the dead would be trying to educate folks in the real world. Are these visions the cries from beyond the grave of the Witch’s casualties trying to alert others to the dangers if they stay? Well, if so, then why not be a bit more specific? The sequences are interesting enough, in all honesty, but without the context for why these rebel rousers needed to know them they wind up feeling like vignettes thrown in to give the picture a longer running time.
Third, the entire story – along with its throwback chapters – lacks a foundation as to when some of these events took place. Early one, viewers are presented with the discovery of a diary which seems to be linked to the Witch. (I say this because one of the lugs reads from it, and it sounds like a recanting of a specific spell.) Ignoring the fact that said diary is wrapped in what resembles a modern leather binding (???), I’m once more at a loss to understand if its from the past or is something that has been found by the weird caretaker and preserved in the cabin. If so, then why? Why preserve that which curses the property? And why did our cast of characters simply chuck it in the fire without giving it a serious second thought? Have none of them ever seen a Horror film in their short lives?
Yet, because Krainson never quite establishes how long ago the diary and the dream events could have taken place, Cabin feels forever like a ship being tossed on the ocean at the mercy of whatever wave might strike it next. I assume they were in the past, but I’m never really told, so they could be the future for all I truly know. Lacking that framework, the story simply unspools, heading wherever it will because that’s just where it was going next. Everything is lazy, predictable, and similarly baseless: when a little context goes a long way, this Cabin drifts from scene to scene – from fright to fright – never caring enough about plot progression or its limp characters. They just players in search of an exit … and exit they do.
Fear Cabin: The Last Weekend Of Summer (2024) was produced by Atl Stunts and Brian Krainson Film Studios. DVD distribution (for this particular release) has been coordinated by the fine folks at Cleopatra Entertainment. As for the technical specifications? While I’m no trained video expert, I can still attest that – for the most part – Fear Cabin works both visually and audibly: occasionally, Krainson even peppers his project with some interesting cinematography. Sadly, none of it really goes anywhere, but such is the risk in storytelling. Lastly, if you’re looking for special features? To their credit, Cleopatra has added a slideshow, the theatrical trailer, a behind-the-scenes short, and a director’s interview (very, very, very short) on the disc; and, yes, it’s always nice to have something extra to consider.
Alas … this one remains Hard To Recommend.
At best, Fear Cabin (2024) might be the kind of thing that Horror purists might check out on disc or streaming. Its run-time is 80 minutes, but that number includes a great deal of end credits along with some outtakes that, sadly, feel out-of-touch with the work’s overall banal tone. Chiefly, my biggest reservations are its kinda/sorta ludicrous story and half-assed performances: none of it is particularly scary – although a few jump scares are better than average – and continuity issues plague a few of the sequences for those of us who watch closely. (Erm … where did that hatchet come from? Erm … who brought a shotgun? Erm … are we ever going to see this alleged lake that keeps getting referenced? Erm … you folks running to the car? Did you forget that it wouldn’t start?) While not a perfect mess, it’s still a mess, indeed.
In the interests of fairness, I’m pleased to disclose that the fine folks at Cleopatra Entertainment provided me with a complimentary DVD of Fear Cabin: The Last Weekend Of Summer (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Yet, because Krainson never quite establishes how long ago the diary and the dream events could have taken place, Cabin feels forever like a ship being tossed on the ocean at the mercy of whatever wave might strike it next. I assume they were in the past, but I’m never really told, so they could be the future for all I truly know. Lacking that framework, the story simply unspools, heading wherever it will because that’s just where it was going next. Everything is lazy, predictable, and similarly baseless: when a little context goes a long way, this Cabin drifts from scene to scene – from fright to fright – never caring enough about plot progression or its limp characters. They just players in search of an exit … and exit they do.
Fear Cabin: The Last Weekend Of Summer (2024) was produced by Atl Stunts and Brian Krainson Film Studios. DVD distribution (for this particular release) has been coordinated by the fine folks at Cleopatra Entertainment. As for the technical specifications? While I’m no trained video expert, I can still attest that – for the most part – Fear Cabin works both visually and audibly: occasionally, Krainson even peppers his project with some interesting cinematography. Sadly, none of it really goes anywhere, but such is the risk in storytelling. Lastly, if you’re looking for special features? To their credit, Cleopatra has added a slideshow, the theatrical trailer, a behind-the-scenes short, and a director’s interview (very, very, very short) on the disc; and, yes, it’s always nice to have something extra to consider.
Alas … this one remains Hard To Recommend.
At best, Fear Cabin (2024) might be the kind of thing that Horror purists might check out on disc or streaming. Its run-time is 80 minutes, but that number includes a great deal of end credits along with some outtakes that, sadly, feel out-of-touch with the work’s overall banal tone. Chiefly, my biggest reservations are its kinda/sorta ludicrous story and half-assed performances: none of it is particularly scary – although a few jump scares are better than average – and continuity issues plague a few of the sequences for those of us who watch closely. (Erm … where did that hatchet come from? Erm … who brought a shotgun? Erm … are we ever going to see this alleged lake that keeps getting referenced? Erm … you folks running to the car? Did you forget that it wouldn’t start?) While not a perfect mess, it’s still a mess, indeed.
In the interests of fairness, I’m pleased to disclose that the fine folks at Cleopatra Entertainment provided me with a complimentary DVD of Fear Cabin: The Last Weekend Of Summer (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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