Five friends go for a break at a remote cabin, where they get more than they bargained for, discovering the truth behind the cabin in the woods.

Credits: TheMovieDb.

Film Cast:

• Dana Polk: Kristen Connolly
• Marty Mikalski: Fran Kranz
• Holden McCrea: Jesse Williams
• Jules Louden: Anna Hutchison
• Curt Vaughn: Chris Hemsworth
• Richard Sitterson: Richard Jenkins
• Steve Hadley: Bradley Whitford
• The Director: Sigourney Weaver
• Daniel Truman: Brian J. White
• Wendy Lin: Amy Acker
• Mordecai: Tim DeZarn
• Ronald The Intern: Tom Lenk
• Fornicus, Lord of Bondage and Pain: Greg Zach
• Matthew Buckner: Dan Payne
• Patience Buckner: Jodelle Ferland
• Father Buckner: Dan Shea
• Mother Buckner: Maya Massar
• Judah Buckner: Matt Drake
• Clean Man: Nels Lennarson
• Labcoat Girl: Rukiya Bernard
• Demo Guy: Peter Kelamis
• Demo Guy: Adrian Holmes
• Demo Girl: Chelah Horsdal
• Operations Guy: Terry Chen
• Accountant: Heather Doerksen
• Elevator Guard: Patrick Sabongui
• Lead Guard: Phillip Mitchell
• Japanese Floaty Girl: Naomi Dane
• Military Liaison: Ellie Harvie
• Werewolf Wrangler: Patrick Gilmore
• Chem Department Guy: Brad Dryborough
• Japanese Frog Girl: Emili Kawashima
• Japanese School Girl: Aya Furukawa
• Japanese School Girl: Maria Go
• Japanese School Girl: Serena Akane Chi
• Japanese School Girl: Abbey Imai
• Japanese School Girl: Marina Ishibashi
• Japanese School Girl: Miku Katsuura
• Japanese School Girl: Alicia Takase Lui
• Japanese School Girl: Jodi Tabuchi
• Japanese School Girl: Sara Taira
• Japanese School Girl: Alyssandra Yamamoto
• Werewolf/Merman: Richard Cetrone
• Sugarplum Fairy: Phoebe Galvan
• Dismemberment Goblin: Simon Pidgeon
• Dismemberment Goblin: Matt Phillips
• Floating Witch: Lori Stewart
• The Clown (uncredited): Terry Notary

Film Crew:

• Original Music Composer: David Julyan
• Casting: Heike Brandstatter
• Casting: Coreen Mayrs
• Supervising Sound Editor: Dane A. Davis
• Foley Artist: Lucy Sustar
• Director of Photography: Peter Deming
• Makeup Artist: Peter Robb-King
• Art Direction: Michael Diner
• Second Unit Director: Joss Whedon
• Sound Re-Recording Mixer: Ron Bartlett
• Stunt Coordinator: Freddie Hice
• Makeup Artist: Gitte Axen
• Assistant Set Decoration: Sandy Walker
• Set Designer: Domenic Silvestri
• Director: Drew Goddard
• Production Design: Martin Whist
• Lighting Technician: James Liston
• Casting Associate: Michael V. Nicolo
• Production Manager: Mary Anne Waterhouse
• Supervising Art Director: Tom Reta
• Casting: Anya Colloff
• Casting: Amy McIntyre Britt
• Stunts: Monique Ganderton
• Executive Producer: Jason Clark
• Set Designer: Peter Stratford
• ADR Voice Casting: Barbara Harris
• Choreographer: Terry Notary
• Supervising Sound Editor: David A. Whittaker
• Editor: Lisa Lassek
• Costume Design: Shawna Trpcic
• Co-Producer: John Swallow
• Prosthetic Makeup Artist: Mike Fields
• Boom Operator: Mark Noda
• Graphic Designer: Kirsten Franson
• Set Costumer: Debbie Geaghan
• Prosthetic Makeup Artist: Scott Wheeler
• Art Direction: Kendelle Elliott
• Key Makeup Artist: Connie Parker
• Set Decoration: Hamish Purdy
• Construction Coordinator: Glenn Woodruff
• Property Master: Dan Sissons
• Costume Supervisor: Patrick Gray
• Hairstylist: Joy Zapata
• First Assistant Director: Richard Cowan
• Matte Painter: Ed Lee
• ADR Editor: Julie Feiner
• Foley Artist: Gregg Barbanell
• Sound Re-Recording Mixer: Doug Hemphill
• Set Designer: Nancy Anna Brown
• Special Effects Coordinator: Joel Whist
• Transportation Coordinator: Blue Angus
• Visual Effects Producer: Karey Maltzahn
• Sequence Supervisor: Josh Saeta
• Assistant Costume Designer: Janice MacIsaac
• Dialogue Editor: Mike Szakmeister
• Music Editor: Julie Pearce
• Visual Effects Editor: Brad Minnich
• Greensman: Glenn Foerster
• Sculptor: Aaron Jordan
• Sound Effects Editor: Bill R. Dean
• Script Supervisor: Susan Lambie
• Foley Editor: Linda Lew
• Underwater Director of Photography: Ian Seabrook
• Matte Painter: Vanessa Cheung
• Still Photographer: Diyah Pera
• Digital Intermediate Editor: Lisa Tutunjian
• Chief Lighting Technician: David Tickell
• ADR Supervisor: Stephanie Flack
• Visual Effects Editor: Zeke Morales
• Set Decoration Buyer: Jamie Jonasson
• Prosthetic Makeup Artist: Harlow MacFarlane
• Digital Intermediate Producer: Loan Phan
• Chief Lighting Technician: Mark Berlet
• Stunt Coordinator: Scott Nicholson
• Camera Operator: Andrew D. Wilson
• Key Hair Stylist: Sanna Seppanen
• Key Hair Stylist: Kandace Loewen
• Key Hair Stylist: Lisa Leonard
• Art Department Coordinator: Jule Baanstra
• Set Designer: Allan Galajda
• Set Designer: Michael Toby
• Set Designer: Viva Wang
• Set Decoration Buyer: Nicole Chorney
• Foley Artist: Dominique Decaudain
• Sequence Supervisor: Josh Bryer
• Visual Effects Art Director: Chris Grun
• Visual Effects Supervisor: Todd Shifflett
• Visual Effects Supervisor: Richard Malzahn
• Steadicam Operator: Kirk R. Gardner
• Aerial Director of Photography: A.J. Vesak
• Set Costumer: Sondra Durksen
• First Assistant Editor: Catherine Haight
• Picture Car Coordinator: Rick Rasmussen
• Location Manager: Geoff Teoli
• Unit Publicist: Brigitte Prochaska
• Choreographer: Paul Becker
• Prosthetic Makeup Artist: Leeann Charette
• Prosthetic Makeup Artist: Kyla Rose Tremblay
• Set Decorating Coordinator: Melissa Olson
• Prosthetic Makeup Artist: Maiko ‘Mo’ Gomyo
• Animation: Ryan Donoghue
• Animation: Daniel Lindsey
• Storyboard Artist: Simeon Wilkins
• First Assistant Sound Editor: Christopher Alba
• Hairstylist: Marnie Wong
• Animation: Keith Roberts
• Casting Assistant: Amy Nygaard
• Armorer: Rob Fournier
• First Assistant “A” Camera: Cam North
• Animation Supervisor: Matt Shumway
• Production Sound Mixer: David Husby
• Second Assistant Camera: Jeff Sayle
• Boom Operator: Charles O’Shea
• Prosthetic Makeup Artist: Sarah Graham
• Lighting Technician: David McClung
• Grip: Pat Waller
• Prosthetic Makeup Artist: Holland Miller
• Costume Coordinator: Gail Barrett
• Sound Mixer: James Kusan
• Stunts: Maja Aro
• Storyboard Artist: Trevor Goring
• Dolly Grip: Darin Wong
• Dolly Grip: Reid Cohoon
• Digital Effects Producer: David Robinson
• Construction Foreman: Richard Dobbin
• Sound Assistant: Candice Todesco
• Matte Painter: Nicolas Donel
• Production Coordinator: Kasandra Greene
• Production Accountant: Sandra Matossi
• Prosthetic Makeup Artist: Felix Fox
• Special Effects Supervisor: Scott R. Treliving
• Grip: Lee Gibeau
• Prosthetic Makeup Artist: Julie Beaton-Pachauer
• Animation: Jeetendra G. Bhagtani
• Lighting Technician: Dan Fraser
• Prosthetic Makeup Artist: Dave Snyder
• Dolly Grip: Jay ‘Sully’ Sullivan
• VFX Lighting Artist: MacDuff Knox
• Animation: Michael Holzl
• Animation: Rebecca Ruether
• Animation: Eriks Vitolins
• Animation: Scott Claus
• Second Unit First Assistant Director: Alysse Leite-Rogers
• Digital Colorist: Mitch Paulson
• Key Grip: Steve Sherlock
• VFX Lighting Artist: Dan Santoni
• Generator Operator: Thomas E. Watson
• First Assistant “B” Camera: Terry McEwen
• Seamstress: Barbara Gasior
• Second Assistant Director: Eddy Santos
• Grip: James Williams
• Matte Painter: Onesimus Nuernberger
• Assistant Chief Lighting Technician: James McMurachy
• Second Assistant “A” Camera: Andrew Capicik
• Modeling: Shih-hao Jason Huang
• Paint Coordinator: Malcolm MacLean
• Production Assistant: Ron Landry
• Visual Effects Production Manager: Kim Evans
• Assistant Editor: Todd Fulkerson
• Extras Casting: Andrea Brown
• First Assistant Camera: Cary Lalonde
• Construction Buyer: Natalie Michalchyshyn
• Storyboard Artist: Robert Pratt
• Lead Animator: Trey Roane
• Matte Painter: Mikael Genachte-Le Bail
• Matte Painter: Marcus Collins
• Matte Painter: Alison Yerxa
• Second Assistant “B” Camera: Scott Cozens
• Best Boy Grip: Gary J. Williams
• First Assistant Accountant: Charlene Callihoo
• Assistant Editor: Melody Gehrman
• Prosthetic Makeup Artist: Geoff Redknap
• Digital Effects Supervisor: Will Telford
• Ager/Dyer: Heather Rupert
• Key Grip: Steve Smith
• Camera Loader: Amie Gibbins
• Graphic Designer: David Scott
• Assistant Property Master: Rowena O’Connor
• Second Unit Director of Photography: Stephen Jackson
• Art Department Assistant: Jonathan Stamp
• Assistant Chief Lighting Technician: Vince Uytdehaag
• Best Boy Grip: Jeff Bzowy
• Camera Loader: Aki Shigematsu
• Generator Operator: Bill Tennant
• Grip: Sylvia Pranaitis
• Lighting Technician: Trevor Q. Gray
• Lighting Technician: Ting Henson
• Lighting Technician: David Leblanc
• Lighting Technician: Robert Dowding
• Costumer: Jenny Bernice
• Seamstress: Romualda Wnuk
• Truck Costumer: Clare McLaren
• Casting Assistant: Jenni Fontana
• Digital Colorist: Charles Bunnag
• Digital Compositor: Austin Hiser
• Matchmove Supervisor: Meg Morris
• Matte Painter: Richard Mahon
• Matte Painter: Adrian Paladini
• VFX Lighting Artist: Adam King

Movie Reviews:

• Andres Gomez: Hilarious and frightened: shaken, not stirred.

  Great movie, one of the best in this “genre” for quite a while.

• LastCaress1972: Finally got around to The Cabin in the Woods. 8/10, great fun. A Joss Whedon-(co)written (also co-written and directed by Drew Goddard, who wrote Cloverfield) take on an old horror staple in which 5 stereotypical teenagers (an academic, a jock, a stoner, a slut and a “nice” girl) venture out into the woods for a dirty weekend. It’s no spoiler to say that these unfortunate young naïfs appear to have been cherry-picked and are being heavily monitored all the way into the woods by some very (very) high-tech manner of… what? Government agency? It’s with these fellows that we visit first, before we ever meet our protagonists; two middle-aged, white collar I.T. types, a little brow-beaten by what appears to be a fairly monotonous job (although it really ****ing isn’t) but full of typical office cameraderie and essentially confident in their own competence and that of the numerous other departments that make up this rather large-scale operation. Whoever is watching our heroes/heroines, they’re big-time. So, what’s happening? To say more would be to start giving things away, but those kids are very deliberate archetypes, placed in a very deliberately typical horror scenario. Because it’s an American film set in America, it’s called The Cabin in the Woods as is befitting the conventions of God-knows-how-many American horror flicks. Were it a J-Horror set in Tokyo, it would be called The Freaky Long-Haired Schoolgirl Ghost, an assertion ably illustrated in the film itself to great and rather humourous effect.

  Decent performances all-round, even the deliberately irritating characters are kind-of likeable. A pre-Thor Chris Hemsworth is particularly good as is Richard Jenkins (Nathaniel “The Dead Patriarch” Fisher from Six Feet Under). It threw me a bit, this film, because in purposely not looking too deeply at what it was about prior to seeing it, I mistakenly thought I was about to watch a seriously scary and effective horror, and this isn’t the case at all. It’s a slick product with what looks like a decent budget as you’d expect from a Joss Whedon project (in case you’ve been under a rock somewhere, he of Buffy/Angel and latterly of The Avengers fame) and it’s loaded with nods to other horror literary and cinematic classics (The Evil Dead, Hellraiser, The Strangers and HP Lovecraft’s Cthulhu Mythos are all fairly explicitly referenced), but it’s not especially gory, it’s intentionally funny more often than it’s intentionally scary and it’s a real thrill-ride, a slice of fun. It’s not quite there, but it’s a damn site closer to “Horror-Comedy” than it is to balls-out “Horror”. It’s not perfect by a long way – it instills bags of concerned curiosity in the viewer, but provokes almost zero real tension whatsoever. And late-on a special effects extravaganza treads clumsily into Night at the Museum-for-grown-ups territory. But it remains a great way to spend a couple of hours.

• Per Gunnar Jonsson: This is another one of those movies where I cannot understand why so many people give it so high scores. Sure it’s not a really bad movie but, personally, I found it only moderately good. I’m not sure whether the movie was intended to be scary or funny or both. It wasn’t very funny though and only moderately scary.

  It has been presented as a not-your-usual-teenage-slasher-horror movie. Well, it sure has an interesting twist but…it is still a teenage slasher horror movie. The twist could really have lifted the movie but unfortunately this good idea is pretty much wasted in a poor implementation.

  Instead of holding on to the surprise it’s spoiled right away with that eagle flying in to the force field (since when did we learn to build force fields by the way?). Another thing that really drags down the film are these utter morons in the control room. If this was really a matter of survival of mankind then you would have thought that it would have been left to professional people and not these jerks.

  The movie isn’t all bad though. With the exception of these major flaws it does pass as a decent slasher/horror movie and makes for a reasonably entertaining hour and a half of not too intelligent movie watching. The part nearing the end where all the monsters goes on a rampage is rather fun to watch. I was not very impressed by the end itself though. That was rather uninspired I would say.

• Gimly: **The following is a long-form review that I originally wrote in 2012.**

  Jesus Christ. What just happened to my brain?

  I was worried that _Cabin in the Woods_ was gonna be a letdown, ‘cause I had built it up so much in my head, and it seemed such a ridiculous concept that it would have been nearly impossible to pull off flawlessly. And maybe it won’t go to join the ranks of my favourite films in existence, but it was… So. Fucking. Good.

  Drew Goddard (who wrote _Cloverfield_) is no stranger to working with Joss Whedon (_Buffy the Vampire Slayer, The Avengers_) and my God do they ever make a team. Joss Whedon is my unopposed all-time favourite person involved in the film industry in any way, shape, or form. Which is quite the claim, given my interests. He’s had a couple of fuck ups, and been fucked around a few times too, but all in all, nobody captures me quite the way he does.

  I’ll try and aim for not-spoilers, if you watch the trailer you’ll get that this isn’t a typical horror movie. You’ll also pick up on that if you watch the first 5 minutes of the damn thing. I won’t go into the finer details, but let me just reiterate, it is NOT a slasher film. There’s a fair amount of horror, some action, some sci-fi, a bit of fantasy, some short but sweet comedy, a bunch of thriller, a little monster-movie, a bit of homage and a healthy (but not overdone) dose of parody. Joss Whedon tends to do that, his work is usually less in the horror genre and more in the… Genre genre. If that makes sense.

  I seem to recall it performing kind of averagely at the box office, but critical reception was fantastic. And rightfully so. And fan-aimed movies as good as this always manage to fall into their cult, so there’s a pretty avid group of people who are super keen on it, too. Again, rightly so. I think the best (as well as most important) thing about _Cabin in the Woods_, is that it pumps some new blood into horror. Sure, it wasn’t 100% original, but then it never claimed to be. At least it wasn’t a sequel or another bloody remake.

  Seriously, I hate on remakes much, much less than most, but come on people! This is all rather ridiculous. Imagine if the Wachowskis had said “Hey, we’ve got this great idea for a dystopian, industrial sci-fi type thing called _The Matrix_… Actually, you know what? That sounds like an awful lot of effort. Let’s do an over the top American remake of _The Castle_ instead!” Yeah, sounds like a great world to live in. Fuckin’… Lazy ‘n shit…

  Lost track there, anyway! _Cabin in the Woods_! Fuck! Good! Watch that shit! Make up your own mind of course, but I really dig it. There’s something to be said for being fucked up and going with it. I’m sure some people will dismiss _Cabin_ entirely, because it’s so out there. And I’m sure even more people will get pissy about the ending. But if you have no expectations, and just try enjoy the ride, then I think you damn well might.

  87%

  -_Gimly_