In May of 2003, there was a lack of big-screen horror until 20th Century Fox released Wrong Turn. This collaboration from director Rob Schmidt and screenwriter Alan B. McElroy arrived in theaters the weekend after Memorial Day. The fairly successful film later inspired a whole franchise of follow-ups, which surpassed the original in terms of sheer gruesomeness. However, this underappreciated backwoods horror still excels in areas its direct descendants do not.
Reflecting the real world, horror steadily shifted toward urban settings. In the late 1990s, the great outdoors was largely abandoned as a dreadful destination and backdrop, especially after the release of Scream. Characters no longer had to leave their neighborhood to feel threatened. However, the next decade saw a resurgence of travel terror. Vacations overseas and across borders commonly unfolded in horrific fashion (Hostel, Turistas), and local sojourns, like that of Wrong Turn, did not turn out any better. Despite its unique focus on domestic ecotourism as opposed to horrors found abroad, this film still deals with the universal concept of fearing the unknown.
In Wrong Turn, the unknown is represented by the Odets Family, who have largely gone undetected in this rural area of West Virginia, or at the very least, denied by locals. The mythology of these cannibalistic mountain folk evolved over the franchise’s straight-to-video phase, but the first film only lightly touches on the suggestion for the villains’ origin: inbreeding. After the title sequence, the story does not dwell on this taboo, often used as a narrative shorthand for strangeness, abnormality, and depravity. Even the family’s latest victims are repulsed not so much by their attackers’ grotesque appearance and lineage, but by their crimes both old and new.
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The film "Wrong Turn" doesn't waste any time in its short runtime. McElroy distilled the wilderness horror subgenre to its essential elements, and Schmidt provided a fast pace to complement his polished direction. The characters, including a doctor named Chris (Desmond Harrington), are all doomed within the first fifteen minutes of the film. These condemned characters are thrown into a backwoods misadventure after their cars collide on a foreboding country road, rendering their cell phones useless. While the film may lack depth and complexity, there are moments of well-written dialogue that add to the overall enjoyment.
By the time "Wrong Turn" was released, the trend of self-awareness in horror had been overplayed. This self-referential approach eventually transitioned into pure comedy, as seen in the "Scary Movie" franchise. The film's serious take on the horror genre was refreshing, even if critics and audiences didn't fully appreciate it at the time. Schmidt's aim to create a straightforward survival film was precise and, in hindsight, undervalued. The film's approach to postmodern horror is minimal, with the exception of a conscious yet facetious attempt by two characters to summon help. Overall, the film's unaffected approach offers a more immersive experience.
In rustic, culture-clash horror films, there is often a tendency to blame the victims. These outsiders typically find themselves in places where they don't belong and, due to their ignorance or arrogance, offend their aggressors, leading to their punishment. However, "Wrong Turn" doesn't rely on a clear-cut set of ethics. The antagonists would have hunted Chris and his fellow prey regardless of their actions. The film suggests that the antagonists have a preference for human flesh, without attributing their behavior to external factors such as overhunting or ecological concerns. This departure from convoluted murder motives is somewhat liberating in a slasher film.
It's not realistic to expect profound character development in any "Wrong Turn" film, especially the later installments. However, the first film avoids reducing its characters to stereotypes or mere numbers in the body count. While underdeveloped, the characters of Chris, Jessie, Carly, and Scott still come across as believable and sympathetic. Unlike characters in some 2000s horror films who are intentionally obnoxious, the characters in "Wrong Turn" are worth caring about. They demonstrate altruism by looking out for one another, both physically and emotionally, in the face of adversity.
Above all, fans of "Wrong Turn" expect to see carnage. While the subsequent chapters in the franchise are more violent and over-the-top, the first film still delivers on this front, satisfying gorehounds and fans of surprise elements. Notably, the treetop beheading and the unexpected arrow to the eye are memorable set-pieces. Additionally, the involvement of the late and great Stan Winston, who co-produced the film and oversaw the practical effects and makeup, further enhances the film's appeal.
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