‘Until Dawn’ Review: Ella Rubin and Odessa A’zion in a Confused Video Game-Inspired Horror Flick

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In the movie “Until Dawn,” directed by David F. Sandberg and based on the video game of the same name, we have an intriguing setup: A group of friends stumble upon a deserted cabin in the forest and are pursued by lethal forces, both physical and supernatural. The tension in this film is predictably intense as these familiar character types try to evade their enemies to survive. There’s also a twist that fans of the PlayStation game will quickly recognize. On paper, this seems like a formula for success, albeit a minor one, but unfortunately, “Until Dawn” doesn’t fully leverage these elements and instead delivers an unevenly scary experience that leaves viewers feeling slightly unsatisfied.

Written by Blair Butler and Gary Dauberman (known for Annabelle and Salem’s Lot), Until Dawn is the latest addition to the movie industry, filled with films inspired by video games. Not too long ago, Warner Bros. released The Minecraft Movie, which in just a few weekends has earned over $700 million worldwide. Unlike The Minecraft Movie, Until Dawn doesn’t enjoy the same level of cultural recognition as the popular Swedish game, but it does have a loyal fanbase who were won over by the original game, featuring Hayden Panettiere and Rami Malek in voice roles.

In a fresh take, Butler and Dauberman preserve the eerie atmosphere from the 2015 survival game, yet they don’t rework the initial narrative for moviegoers. Instead, they introduce an entirely novel tale revolving around five endearing newcomers embarking on a therapeutic road trip across the countryside. Unlike Dawn, the storyline continues to explore psychological aspects of fear, but after movies like Smile, the final scenes seem more comforting than chilling.

It’s been a year since Clover (Ella Rubin) experienced the heartbreaking double tragedy of losing her mother, who passed away, and her sister, Melanie (Maia Mitchell), who vanished shortly after their mom died. In an effort to aid Clover in coping with her sorrow, her friends plan a journey to retrace Melanie’s last known steps. Upon introduction, the group has halted at a countryside gas station for refreshments and a seance. The company consists of Clover’s anxious former boyfriend Max (Michael Cimino); their friend who is fascinated by the occult, Megan (Ji-young Yoo, impressive performance); evasive Nina (Odessa A’zion); and Abe (Belmont Cameli), Nina’s new beau who can’t resist boasting about his psychology degree whenever he gets a chance.

Initially, the opening sequences skillfully portray the intricate bonds within the group, creating a sense of attachment to their camaraderie. Despite each member having personal issues, they find stability in their relationships. This is why they journey through the desolate landscape with Clover, who appears depressed and seemingly vulnerable, hinting at psychological struggles she’s faced since last year.

In the gaming world I inhabit, the tension rises as our team rolls up to an eerie abandoned visitor center nestled in the fictitious Glore Valley, not far from a gas station. As we poke around, we uncover chilling evidence: Abe stumbles upon a billboard displaying photos of missing people, among them Melanie; Nina unearths a logbook bearing the names of these individuals, scrawled repeatedly in progressively sloppy handwriting; Megan senses an ominous feeling from the place, as if spirits are trying to convey a message to her; and Clover swears she hears Melanie calling her from the thick, foggy woods.

Sandberg skillfully manipulates the quiet intervals in these scenes, allowing entire sequences to unfold with minimal sound, just the occasional creak of a floorboard, a deep breath or the rustle of turning pages, to create an intense sense of tension. When the killer finally emerges, making off with the group’s car before brutally slaying them in a surprisingly humorous manner, there is a palpable feeling of dread that permeates the atmosphere.

What stands out most in the game ‘Until Dawn‘ are moments that shine brightly amidst a plot that loses its appeal quickly. Following the enigmatic slasher, reminiscent of Michael Myers, murdering Clover, Max, Megan, Nina and Abe, these characters miraculously regain life. They soon discover they’re trapped in a twisted game where death is merely a temporary setback; they must live through the night to break free by dawn. Armed with this information, our friends venture forth to explore this strange locale and the enigmatic psychologist (Peter Stormare) controlling their ordeal.

Every evening brings a fresh method of meeting one’s demise (such as stabbings, limbs exploding, or blows to the head), as Sandberg draws inspiration from slasher movies, psychological horror, monster films, and various other genres. Whilst the endeavor to pay tribute to these genres is commendable, Until Dawn appears constrained by the contrasting moods these shifts demand. Occasionally, the movie is humorous, while at other times it strives for gravity. This results in a puzzling concoction that incorporates elements from everywhere but the kitchen sink.

In essence, Sandberg’s movie predominantly follows conventional horror tropes, offering intrigue sporadically with a sequence of captivating slayings and skillful application of practical effects. Jennifer Spence’s exceptional production design lends an eerie ambiance to the deserted mining town, while in collaboration with cinematographer Maxime Alexandre, Sandberg creates some genuinely unsettling sequences. However, these scenes can’t compensate for the glaring plot inconsistencies and uneven acting that create bewilderment regarding the film’s intended influence.

As these young adults edge closer to unraveling the enigma surrounding their time-looped incarceration, the movie Until Dawn increasingly employs visual cues – such as a character figuring out they’ve been imprisoned for 13 nights while viewers have witnessed merely four or five nights of peril – to conclude matters swiftly. The narrative also delves into predictable pop psychology and exaggerates its significance to add depth. Remarkably, part of the advertising for this confusing film encouraged spectators to rewatch it continuously for 12 hours in pursuit of a cash reward. It’s hard to fathom a reality where such an experience would be deemed rewarding.

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2025-04-24 18:54