Along with the figures Jen sees in the woods, and the traps that injure them around the mountain (Darius takes a spiked ball to the chest, but recovers with help of med student Milla ), they're convinced it is they who are being hunted. Adam ( Dylan McTee), the hiking group's hothead, is dragged into one of the traps set by members of The Foundation, sending the hikers into panic mode.
Which so happens to later manifest itself in the woods with a creepy cult known as The Foundation, who wear animal skulls as masks and moss as camouflage, and have created a secluded civilization the Appalachian mountains since 1859. Not that these outsiders weren’t warned by the locals of the nearby small Virginia town to stay away, after then accusing the hikers of never working "real jobs" (to which the young folks then reply with their different careers, albeit none of them blue-collar positions). The initial tension in the movie is between that of curdled Confederate dreams and Bernie Sanders-grade socialism, and while it can be a little on-the-nose, it does make for a strong foundation related to fear of the other. They're also dead meat, starting with the rogue tree trunk that suddenly barrels down the hill in an excellent, frantic sequence, killing one of them. The batch includes Jen (an incredibly game Charlotte Vega) and her boyfriend Darius ( Adain Bradley), an out-and-out socialist who works for a non-profit and openly dreams about an equal society. In general these hikers, who include a gay couple and also an interracial couple, are a liberal beacon for what they think the future of America should be. This “Wrong Turn” shares the title mostly by branding-a group of hip, diverse young hikers also make a bad decision here, this time in search of a rare Civil War fort off an Appalachian trail. And considering its fitfully nasty traps, it can be mighty thrilling when you don’t really know where a reboot like this is going. Nelson has a confidence that keeps this movie bolder than you expect. This is a remake that has clearly moved on from the original, and now wants to be graded on its brains instead of its brawn-for the dialogue it adds to the tension between two civilizations, especially as McElroy evolves the slasher story to cult horror, like an Appalachian " Midsommar." That last part is where it gets a little less sturdy, but director Mike P.
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