THE STRANGERS: CHAPTER 1: 2 STARS. “sucks away the menace of the premise.”
Nihilistic and nasty, “The Strangers: Chapter 1,” part one of a proposed rebooted “Strangers” trilogy of films, and now playing in theatres, doesn’t deliver on the promise of it premise.
After a quick prologue and an F.B.I. public service announcement on the frequency of random violent crime—“There have been 7 acts of violence since you’ve been watching this film,” a title card screams—the action begins with a good looking young couple, Maya (Madelaine Petsch) and Ryan (Froy Gutierrez), on a road trip from New York to Portland, Oregon. Things turn creepy on day three of their trip when they veer off the main road to grab a bite in the least friendly town in America, Venus, Oregon, population 468.
It’s a strange place, with judgy locals, a menacing car mechanic and weird kids who stare at them as they perform the cardinal sin of ordering vegetarian food in a country diner.
After an uncomfortable dinner, their car mysteriously won’t start. One busted alternator later, they’re stuck in Venus for the night. A local suggests they stay at the local “internet house,” an Airbnb cabin in the middle of nowhere.
As they settle in, romance blossoms. “I want to spend the rest of my life with you,” Maya says.
Trouble is, that might not be very long if the masked, axe and knife wielding killers lurking outside have anything to do with it.
The promo for “The Strangers: Chapter 1” promises to reveal how the terrifying trio of masked marauders became the Strangers, but this isn’t an origin story. It’s more like a 90-minute trailer for the next part, which may, or may not be a bit more forthcoming about the backstory.
This movie is more about the randomness of the violence and the endlessly stupid decisions made by Maya and Ryan. The leads are so bland, and their actions so inexplicable, you actually find yourself rooting for the killers so the couple’s ordeal, and by extension, the audience’s ordeal will end.
The randomness of the violence has always been the calling card of “The Strangers” films, and director Renny Harlin squeezes whatever juice is left out of “The Strangers” IP, building a bit of tension here and there, but the film’s slow pace, repetitive action and decidedly non-gruesome violence sucks away the menace of the premise.
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