It is highly important to stress just how important atmosphere is to horror films. Clumsy characterization, bad special effects, plot-holes all matter little to an audience if the film manages to create a world of its own that stays with the viewer long after the last drop of blood has been shed. Images are more important than an original story or good dialogue if they manage to induce fear in whoever is watching. Stake Land may not be a perfect film. In fact it would be easy to pick out the various problems on display, yet the films existence is more important than that it succeeds on every level.Co-written by star Nick Damici and director Jim Mickle, Stake Land is almost a Malick-ian twist of the horror genre. Almost. In the near future, the United States is overrun by a crude mixture of Vampires and Zombies, leaving only few humans to battle for survival. In this post-apocalyptic setting, we follow a young man (Patrick) and his mentor (a nameless vampire hunter) as they make their way through the country in search of New Eden, Canada. No, I didn't make this up, yes, I know it sounds crap. So, how does the film manage to become a rather unique entry into the modern horror canon? By taking itself seriously. Very seriously. The opening scene alone, in which we learn of the gruesome, gory demise of Patrick's family, is enough to convey a feeling of dread that spans over the entire coarse of the film. One especially harrowing shot succeeds in making the viewer unsure just how far the writing duo can take the depiction of violence (clue: they take it very far in the remaining 90 minutes).
The film then moves forward a few months to the two hunters searching the wasteland that once was a city. The cinematography indicates almost picaresque beauty. The quiet soundtrack recalls Nick Caves work on "The Assassination of Jesse James". Patrick recalls his past in a hushed whisper and reflects upon the state of the world. The haunting, melancholic atmosphere recalls road movies and coming of age films from the late 90s and the Western revival earlier this decade. Almost Malick-ian. A stark contrast of two forces in the new united nation: the beauty of landscapes and life contrasted by half-rotten bloodsuckers.
As the duo makes their way to the allegedly safe haven, they encounter a variety of human characters that all manage to generate enough interest in the audience to care, and meet a couple of allies that follow them on their way. Geez, I wonder whose demise is depicted first...
Thus we have here the one, big flaw of the film: it's typical set-up in terms of "characters we make you care about only to have them killed later." Yeah, it's rather easy to generate sympathy in an audience these days. Still, the script is content to flesh these persons out, their goals and dreams, who they are and what they want. We know little about them, but it is enough to make us connect with them. It's a shame though they do little more than die.
The second big flaw of the film is actually not a flaw. It's highly evident that the budget was small and that the ambitious approach would lend itself better to a full blown two (if not three) hour epic that delves further into the western themes introduced, as well as into the mythology of the villains and monsters. For example, a cult that believes in gods will to diminish the human race through the Vampire plague is introduced but only so much as to give us the bare bones of their believes and to be worthy villains once they put their plans into action. The anti-dogmatic message thus feels rather heavy handed and doesn't manage to fully bloom. The ending feels rather rushed as well and more like a set-up for a full fledged sequel that further illustrates character motivations and connections.
Still, with all these minor flaws, Stake Land somehow manages to shine and stand its own ground. It's a clever, daring and moving horror film that may cross the line at some points and stay behind its self-imposed ambitions, yet it's also another step towards the right direction: a modern american horror-cinema that combines artistry with genre tropes and relies as much on mood and beauty as on violence and the uncanny. Highly enjoyable, slightly socio-political and very welcome in a time where effects and jump-scares are regarded as the main attraction in horror films.
Rating - 8/10
P.S.: I decided to include a scene this time around, as neither the images nor the trailer are a good indicator of the films actual mood.
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