Directed by Sylvian White
Starring – Joey King, Javier Botet, Julia Goldani Telles
The Plot – In a small town in Massachusetts, four high school girls perform a ritual in an attempt to debunk the lore of SLENDER MAN. When one of the girls goes mysteriously missing, they begin to suspect that she is, in fact, His latest victim.
Rated PG-13 for disturbing images, sequences of terror, thematic elements and adult language including some crude sexual references
– Creepy visuals that are very well edited and pasted together. For this reason alone, I wish this film was a 30 minute short to capitalize more on the lore aspect of Slender Man, instead of being a jump scare fest that feels drawn out even twenty minutes into the movie. When the focus is on this viral video to capture the essence of the character, it’s so much more unnerving than something we can predict the formula to.
– If one thing stands out above the rest in this film, it’s definitely the atmosphere of Slender Man’s woods and surrounding landscapes, that properly set the mood. Almost immediately, we’re treated to cheap production qualities that include blurry out-of-focus lenses, and dimmed lighting to properly set the mood, and it’s something that I would normally call out for a negative, but in films like this you need the presentation to look so far from anything else in its respective genre. This measure is valuable in a visual metaphorical sense as well, because it constantly feels like this virus or plague continuously follows around these ladies in their everyday routines, and they just can’t shake it.
– Shameless Sony as usual. For those who have read my reviews about Sony produced films, you know that I have no problem calling them out on the obvious promoting that they do for their products in films, and ‘Slender Man’ is more of the same. Nothing keeps you more in that terrifying frame of mind from horror than your concentration being broken when you notice the obvious Sony logo on a Vaio laptop or cell phone that the characters have. Maybe I wouldn’t mind as much if the name brand was edited out of the frame, but it’s so obviously intentional the way a particular frame zooms in on the outer layer of a screen.
– Terrible acting all around. My problem with the main four girl protagonists in this film is that they know they’re in a horror movie, and that constant over-reaching to make up for a lack of overall personality shows in spades. Long before Slender Man ever comes into the story, these ladies talk and act like they are the victims of some terrible tragedy that has plagued their family, worse of which being Botet, who couldn’t summon one ounce of dramatic depth to her often numbingly-dull facial reactions.
– No scares equals boredom. If you are searching for cinematic Nyquil, look no further. Because of its lack of capitalizing on an already established atmosphere, as well as a desire to play towards the cliches of thoughtless jump scares, the film loses its fresh factor quick, feeling a condemning of redundancy that keeps it from ever evolving. The film is hoping that this imagery that is completely out of context will satisfy the easy-to-please horror fans who don’t need meaning or even remote psychology to what they’re seeing.
– Something is missing. Considering this is a film that has sat on the shelf for almost a year now, it definitely feels like some judgemental cuts were made that hinders its exposition. Aspects of subplots come out of nowhere in the film, like the offering to Slender Man, as well as what comes from a love interest that completely goes nowhere, leaving me frequently scratching my head where this opposite direction even stems from. I felt this way a lot in ‘The Bye Bye Man’, although not quite to that damning of a level. ‘Slender Man’ just feels like a director’s cut that suffers from amnesia, for the way its shapeless pieces never fit the rest of the puzzle.
– There is a satisfying twist at the beginning of the third act that involves a character betrayal, but it’s quickly ruined for the lack of intelligence and logic that went into it. I can’t give away everything, but a character is outed because she turned the cell phone on herself when she’s talking to another person, and this makes no sense for a couple of reasons. For one, why even do this? If you’re looking to not get caught, the only way would be to keep the camera on the other person. For two, how is she even turning the camera on herself this cleanly without it stumbling or feeling shaky? For three, why have I already put more thought into this than the director did?
– After coming out of the film, I feel like I know even less about Slender Man than I did going in. The lack of overall conviction and energy lended to this urban legend is something that only makes me shake my head, and leaves me appalled for how they could’ve made this terrifying figure their own. No backstory in legend? CHECK, No consistency in rules for how to suppress him? CHECK, Nothing that makes you root against him, especially with stupid kids who are dumb enough to mock his legend? CHECK
– The sound mixing in this film is every bit as deafening as it is ineffective. The idea here is to blare as much loud noise and buzzing as possible, whenever Slender Man appears, taking audiences completely out of the moment every time they have to clutch their ears in agony. I guess if they can’t conjure up any meaningful scares, the only way to have people running out of the theater is to make the auditorium sound like the worst Sweedish death metal band you’ve ever heard.
– Attrocious C.G effects that stick out like a sore thumb more because everything else in the production feels so grounded. This is sloppy levels of post-production even for an afterthought horror movie that is nine years past its shelf life, but it does beat the many times we are constricted by the PG-13 rating that does us zero favors. For the first half of the movie, we are treated to a barrage of cutaways that offer horror hounds nothing in the way of satisfying gore or violence, and in the second half it’s C.G effects that wipe away anything and everything from the imagination and practicality of the picture.