Text © Richard Gary / Indie Horror Films, 2017
Images from the Internet
Beyond the Woods
Written and directed by Sean
Breathmach
EGO
Productions / Superego
82
minutes, 2016
I could be wrong, but I’m thinking that the name of
this Irish film is a play on the tile Into
the Woods, just further so. If
that is the case, I like the pun. After all, the Grimm Faerie Tales were
actually mostly horror stories, were they not?
Anyway, if you don’t mind a gross generalization perhaps
unfairly based on a limited group, this is the second Irish genre film I’ve
seen in the past bit, and they both have one thing in common. Like Don’t You Recognise Me? [2015], the
story is taken off a relatively generic formula, and then follows through into
its own direction. The other was a tale of revenge, whereas this one is based
on the cabin in the woods trope.
 |
| Irene Kelleher |
Here, rather than a wood shack, it is a very lovely two-story stone house of an age
that may predate the US that is the locus of a gathering of seven friends:
three couples and an odd wheel who was recently dumped. They decide to get away
from it all to this place that was once a vacation home to one of their parents.
Their plan is to spend it relaxing, dishing dirt, and quite a bit of the raising
of the wrist and imbibing with some other fine substances to alter the mind.
Shortly before they even get there, we learn that a
large sinkhole has opened down the way, which releases the bitter smell of
sulphur across the countryside. Now, in a genre film, burning sulphur is never
a good sign. Before long, of course, they are not alone. There is a figure who
looks like he’s covered in tree bark (or dung/mud, it’s hard to tell), and you
know he’s up to no good because, again…genre
film.
We are told early on, indirectly, just what is
behind the hole, the smell and the evil that is in the air the first night when
we see a digital clock turn from 5:56 to 666 (no colon) and back. And it is the
biggest mix-up that you have ever seen, as the minions of Ole Slew Foot are
lurking. Even though we only get to see one demon, that’s surely enough to turn
things from a good mood release weekend to one of damnation and death. Again,
it is a genre film.
The big bad dude in the cape and hoodie looks like
he has bark attached to his body. Though I’m not really sure about that, as we
see him mostly in shadow (a smart move, honestly), it would make sense to me,
as Ireland is known for its greenery and nature.
 |
| Mark Griffin |
Using the mirror-doesn’t-reflect-reality paradigm,
we know that the intensity is growing. Tensions begin to rise between the
friends and unexpected connections occur to further stress their bonds. What we
are left to wonder – again, the right choice – is whether this deep-level angst
is normal for this group dynamics, or is it the ever-more pervasive influence
of whatever is in the woods.
The tension that builds does so pretty slowly, but
not enough to lose the interest of wondering where this will take the viewer.
Sure there’s a hint of The Evil Dead
and even a bit from Stephen King’s short story, “You Know They’ve Got a Hell of
a Band,” as well as other sources, but there is a definite different feel. For
example, these are not teens, so the conversation isn’t just wondering about
getting laid or telling ghost stories. There is also an avoidance of other
stereotypes, like the old guy warning the group, or the jock, the nerd and the homely
girl who becomes lovely as a soon as she takes off her glasses, I’m happy and
grateful to say. These are adults with adult foibles, and I respect that and
enjoy the maturity of what the director is accomplishing (i.e., teens aren’t
the only ones that have to worry).
Stripped back in the story and effects, surely due
to budget limitations, we don’t lose anything because of that. While most of
the action does happen at the rising of the moon, there are mysterious things
about even during the day. As time goes on during the weekend, actions continue
to ramp up until the third act of desperation and death for… well, you’ll just
hafta find out, woncha?
 |
| Ruth Hayes |
The cast, for once, is populated by professional
actors of a higher caliber, so we get some decent playing, and yet not so much experience where there is
sleepwalking through the parts. As far as I can tell, as I’m not that up on Irish actors, there are also
no cameos by slumming bigger named players past their prime, or cult genre name
performers. Happily, his works for
the zeitgeist of the whole she-bang.
That being said, the camera does lovingly tend to
focus on the diminutive and dimple-deep Irene Kelleher, who indirectly comes
out as the “star,” but each character gets their shot, much as a band that has
everyone do a solo to show their chops.
While sex is involved at some point, there is no
pressing of the flesh seen, and the blood and gore is kept to a minimum; when
it is applied, however, it is
quite effective. Some of the scenes are a bit on the dark side, but not so much
you can’t follow the action, so I’m okay with it.
While this certainly isn’t a perfect film – for
example, if a creature can kill with a mere touch, why would he pick up an ax?
– all things considered, it is a well done production that takes what we know
and mixes it into a new-ish recipe. Worth checking out.
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