Southbound (2016)
Starring Matt Bettinelli-Olpin, Hannah Marks, Gerald Downey
Directed by Radio Silence, Roxanne Benjamin, David Bruckner, Patrick Horvath
The last decade has seen a notably revitalized interest in horror anthologies, to the delight of many genre fans (like myself) who miss the days when films like Creepshow and Tales from the Darkside were viable efforts that audiences could get excited about. The latest of these entries is Southbound, an anthology of linked vignettes along an ominous highway that slowly aims to create a world where all of your worst nightmares are possible. Following the modest buzz that the film generated after its premiere at 2015’s Toronto International Film Festival and its subsequent pick-up by The Orchard, Southbound finally sees an official release in limited theaters on February 5th, followed by a VOD premiere on February 9th.
While many lauded festival entries often suffer from the advanced hype that precedes them in the months leading to official distribution, Southbound actually still feels like it is coming out of nowhere. On the fest circuit, it often felt overshadowed by other more highly publicized entries like Robert Eggers’ The Witch or Jeremy Saulnier’s Green Room, both also releasing in the coming months. While some may take this to mean that Southbound is not as significant of a horror effort, I can confirm that for lovers of anthologies and offbeat horror alike, this is not the case. If anything, Southbound feels poised to be one of the biggest surprises for many horror lovers looking for something that is refreshingly peculiar this year — and I mean that in the best way.
Bringing in talent from the V/H/S franchise, The Pact, and 2007’s The Signal, Southbound features five segments executed with a decidedly offbeat tone that effectively brings to life a very strange and horrific world — all guided by an ominous radio DJ voice-over from genre mainstay Larry Fessenden. The film begins with the Radio Silence-directed segment “The Way Out,” which follows two criminals who seem to be on the run from an unknown dark force. Quite immediately, Southbound showcases some very impressive creature effects that feel far beyond its seemingly modest budgetary constraints, a testament to the film’s ability to carefully control what it does and does not show its audience. “The Way Out” is a somewhat quiet beginning for the film, but it lays the groundwork for all that is possible in the world of Southbound.
Following “The Way Out” is “Siren,” which is dually the directorial debut from producer Roxanne Benjamin and the segment that is likely to be the high point for many. “Siren” tells of an all-female rock band who accept a ride from a couple of unusual do-gooders after their tour van is left stranded on the side of the highway. In proper horror fashion, the couple ultimately proves to be far creepier than the women could have imagined, hosting one of the most amusing dinner parties I’ve seen on film in a while with the band members as the guests of honor. “Siren” arguably captures the most representative spirit of the film, masterfully incorporating genuinely chilling moments with darkly comedic material. The characters here are also quite likable, and the momentum packs a punch in this tautly scripted segment.
Once the film reaches David Bruckner’s “The Accident,” all bets are off in regard to the film’s wilder nature, and this amped up segment will definitely be a make-or-break moment for many viewers who are on the fence. Bruckner’s short about a man who causes a terrible accident wholly brings to life the bizarre universe of Southbound in an effective way, inspiring the most moments of genuine nervous laughter that are equally matched by an overwhelming sense of anxiety-inducing tension. Up to this point, the film feels very much like a grittier, modernized version of “The Twilight Zone,” but “The Accident” manages to also channel David Lynch’s darker, more mysterious work (think Lost Highway or Mulholland Dr.) to a resonating effect. In this segment, you not only fear the antagonists at work, but the world itself — a nightmarish landscape that is very much preying on its travelers. These surreal and outright absurdist aspects of Southbound are what wholly set it apart from the likes of the V/H/S and ABCs of Death franchises creatively, and it feels like a much fresher film for it.
That the multiple creative minds behind Southbound feel like they are operating on the same very peculiar wavelength makes this collection of subtly interwoven stories such a surprising joy. Whether or not you ultimately can get on board with the zany atmosphere in which the film operates, you have got to give it credit for remaining commendably consistent between the segments. Patrick Horvath’s “Jailbreak,” the fourth segment, is a full-on Lynchian story of a man searching for his sister; it is the most polarizing of the bunch and I can imagine many people will be baffled by the direction it takes, but it’s this kind of unabashed singularity in the film that I thoroughly enjoyed.
Radio Silence’s “The Way In,” the final segment, is arguably the weakest of the bunch, primarily because it does not seem to ultimately add up to much as a standalone effort, contributing instead as a part of the overall narrative destination of the film. Additionally, while I appreciated the way that Southbound‘s more outlandish content was channeled through a very subdued lens, showing significant restraint more often than not by leaning on an unsettling air, I can imagine that those used to the in-your-face approaches of the last couple of V/H/S films will ultimately be left wanting more bombast from a film like this. That the film is front-loaded with the more exciting segments also works slightly against it, as I can see the more restless viewers tapping out after “The Accident.”
Yet, despite these arguable flaws, there is an effectively claustrophobic air to the world of Southbound that remains with you throughout, growing more nightmarish as the film progresses — and it all just works. It helps even more that the performances across the board are rock solid and complement the film’s tone. As a fan of left-of-center horror efforts that are unafraid of getting a little weird, I have no problem admitting that Southbound is probably my favorite horror anthology since Michael Dougherty’s Trick ‘r Treat. The film succeeds above all as a genuinely creative labor of love, which is more than refreshing in a genre that is so easily cluttered with uninspired dreck. Southbound is the best kind of collaborative passion project that rarely, if ever, feels disjointed, and it left me wanting to see more films like it. If the powers-that-be ever decided to further explore the widest reaches of this hellish world — or even a parallel universe that is equally as grim — I’d be more than happy to take the ride once again.
Have you had a chance to check out Southbound, or are you just plain excited for it? Sound off in the comments below, or tweet me (@TheAriDrew) and share your thoughts!
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Categorized:Reviews
