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100By the time the ride is over, director Drew Goddard and co-writers Goddard and Joss Whedon will change course three or four times, nodding and winking but never losing momentum.
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100The Cabin in the Woods isn't merely another "Scream" exercise in self-awareness, or a "Scary Movie" spoof of the same. It's a wickedly smart hybrid mutation, biting the severed hand feeding the genre.
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91It's an exercise in metafiction that, while providing grisly fun, never distances viewers. And it's entertaining, while asking the same question of viewers and characters alike: Why come to a place you knew all along was going to be so dark and dangerous?
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90A horror-movie attic sale is, in essence, exactly what Cabin in the Woods is, an attempt to exorcise the genre of its formulaic possession by stuffing the movie full of its most overused and predictable elements - and then dumping them through clever skewering.
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Apr 12, 201290Cabin in the Woods does what "Scream" only halfway managed, which was to find something new by looking back at the familiar - and at least in Whedon's world, the geeky ones are never first on the chopping block.
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90The Cabin in the Woods is a fantastic poke in the eye of our horror-movie expectations.
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Mar 10, 201290Not since "Scream" has a horror movie subverted the expectations that accompany the genre to such wicked effect as The Cabin in the Woods, a sly, self-conscious twist on one of slasher films' ugliest stepchildren: the coed campsite massacre.
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Mar 10, 201290Drew Goddard's giddily brilliant The Cabin in the Woods has a lot on its twisted mind.
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89The horror-movie clichés form the backbone from which the film's humor and creativity emerge. This Cabin may not be the Parthenon, but it's definitely a place to worship the gods of horror.
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88Cabin is a deliciously devious scare dance that keeps changing the steps until you lose your shit and fall helplessly into its demonic traps.
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88The film's main virtue, a large virtue indeed, is that it does not give anything away before its shockingly apt time.
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88It showcases one of Whedon's greatest strengths: his ability to take previously disrespected genres - in this case the slasher film - and turn them inside-out and upside-down and every which way but loose.
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83It's a film full of clever moments that may at first seem cheeky but come to feel inspired, with a third act (which only a churl would describe) that rises to a dizzyingly heightened level of metaphysics and mayhem.