Vacancy

It's more or less a given these days that a horror movie won't be screened for critics.

The reason is simple. Film critics, by and large, hate horror movies. Especially when they're as formulaic and brainless as 99% of them have been over the past few years. So as a sort of pre-emptive strike, the studios try their darndest to prevent any reviews being written until after the movie's release. Sometimes it works like a charm. Witness the $38 million opening weekend for Alien Vs Predator. But soon enough, when the critics have begrudgingly queued along with all of the other moviegoers, the reviews come out and the next weekend drops off alarmingly.

That's of course assuming that as critics, we have this tremendous power over people. Recent $100 million hits Norbit and Wild Hogs, which were both slaughtered critically, proved that quite often that's not the case.

Recently Wes Craven stated that the studio often feels there's nothing to be gained by screening a horror movie for review purposes. So, with a slew of horror films this year not having press screenings (The Messengers, Dead Silence and The Hills Have Eyes 2), it's interesting to encounter one brave enough to stem the flow. In comes Vacancy, one of the few horror flicks this year to receive a screening for critics.

This is most likely related to the film's pedigree. For once the leads aren't 27-year-old ex-TV-actors playing 19-year-old school kids. They're actual, real grown-up actors. Secondly, the movie is directed by a young American director who gained acclaim in Hungary with his award-winning debut movie Kontroll. Thirdly, the film also boasts another two irregularities for a grimy horror piece. It's not a remake or a sequel and it's not rated PG-13. So, for a seasoned, bordering on fed up, fan of horror movies, I was certainly expecting a little more than what we usually get.

At a brisk 80 minutes, we're launched straight into the action. David (Luke Wilson) and Amy (Kate Beckinsale) are a couple on a nightmare journey. A nightmare from the get-go because of their increasingly fraught relationship. They're traveling back from a family event where they had to play the part of the happily married couple, despite the fact that they're in the process of getting a divorce.

They soon find themselves lost in the middle of nowhere after a disastrously misjudged shortcut. Stopping for directions, and for help with car problems, they are forced to stay the night at a dingy motel. Once inside their room, the couple settle in for an uncomfortable night's sleep. But when David takes a look at some of the videos on offer, he faces up to a frightening reality. Video after video of people being slaughtered, in the same room as theirs. David and Amy are unwitting participants

in a snuff movie and if they stay in the room all night, they'll die.

Other than the absurdity of the monumental misfire 8MM, snuff movies have rarely touched the mainstream as much as you would imagine, especially considering the recent rush of torture-porn horror flicks. An independent movie, My Little Eye, did approach the topic with an interesting spin, noting that when you bring up the nastiness of snuff movies, you really have to do it with a similarly nasty, low-budget vibe.

Vacancy is pitched somewhere in-between the two. It's certainly a cruel movie, but the star power and the surprising lack of violence make sure that we're never in a true, gut-wrenching state of fear. We are somewhat excited for the most part however. The buildup in particular is nicely played with Wilson and Beckinsale putting in some solid groundwork before the mayhem begins. Their archly believable interplay means that we are rather invested in what happens to them and that's essential when it comes to this type of movie. Far too many films fail to spend time developing interesting or even credible characters before subjecting them to the obligatory danger.

The ways in which the two react to the ensuing problems also helps to raise the believability of the situation. But as the movie progresses, our investment slowly starts to diminish. A pacey setup, coupled with some genuinely unnerving scenes soon degenerate into dumb theatrics and formulaic fright scenes. For someone who doesn't usually watch this type of movie but is lured in by the unexpected star wattage, they'll likely find the film a real heart-racer but for those who are familiar with the genre it fails to bring anything new to the table.

What's also disappointing is that the movie doesn't seem to have the courage of its convictions. For a film which concerns the unavoidably grisly subject of snuff movies, it fizzles out by the end credits. Promises of something nastier are teased but by the finale it has lost its bite. Against all odds, Luke Wilson gives a surprisingly credible turn. It sounds silly but his grubby, sweaty, out of breath reaction to all of the running and screaming really helps to position the character in reality. Kate Beckinsale (not one of my favorite actresses), is good in the initial stages when she's not dealing with the horror aspects of the story. When it cranks up however, she's a whimpering mess and an unconvincing reversal eventually turns her into a muted version of her Underworld inspired kick-ass persona. While Frank Whaley's performance as the motel's seedy manager veers between creepiness and silliness.

Vacancy, to give it credit, does have more going for it than many of its recent peers has had. It's a short, sharp thriller which does boast some tension in the earlier stages. This makes it more of

a shame that it loses momentum so quickly. The finale is one of the weakest in recent memory and helps to blunt all of the sharper claws which were initially unleashed.

Given what we've seen lately, I'm not too surprised that Vacancy bucked the trend and screened for critics. It's a step in the right direction for sure, but my, what a slow journey it's turning out to be.

Movie Grade: C+

Synopsis:

When David (Luke Wilson) and Amy Fox’s (Kate Beckinsale) car breaks down in the middle of nowhere, they are forced to spend the night at the only motel around, with only the TV to entertain them… until they discover that the low-budget slasher movies they’re watching were all filmed in the very room they’re sitting in. With hidden cameras now aimed at them… trapping them in rooms, crawlspaces, underground tunnels… and filming their every move, David and Amy must struggle to get out alive before whomever is watching them can finish their latest masterpiece.