Wolf Creek 2
You there’s always been a morbid curiosity concerning one of the most famous types of people, the serial killer. I hesitate to use the term ‘human being’ in referencing these individuals as the acts they so easily perpetrate exhibit a degree of mindless cruelty that is beyond what human and animal would inflict. The term defined as somebody who murders three or more people, but in severe cases, the numbers can go into the thousands of beyond even hundreds of victims. Perhaps this sheer heinous brutality brought by the serial killer is so far beyond the understanding of a psychologically normal person that it invokes a vicarious thrill and means to experience actions that are completely opposed to everything that defines us as individuals and a functional society. Stories concerning serial killers typically are grouped in the general genre of horror so classified as a true crime. The main factor that differentiates the serial killer from the murderous antagonist in most horror stories is that they do exist. The chances of being murdered by some lumbering guy in a hockey mask or a heavily scarred man with a bad taste in spreaders and fingers by long, sharp knives are indistinguishable from zero. In contrast, if you regularly read newspapers or other types of current event media, you are bound to come across reports of serial killers on a frighteningly regular basis. The Association horror tropes and archetypes are well-founded. A significant number of the conditions necessary to create a frightening caller story usually are found in the modus operandi of the serial killer. Paramount among these are requirements his isolation. Someone whose vocation is something out the lives of other people has a tendency towards preferring privacy. The victim needs to be cut off any potential help in any means of notifying others about their dire predicament. Dark alleys, bank basements, and deserted homes have always served these murderers well for providing such discretion from prying eyes. There is a franchise of horror; ‘Wolf Creek’ is predicated on an entire continent that opens an unprecedented degree of solitude, Australia.
The original film, ‘Wolf Creek’ was released in 2005, by Greg McLean, an upcoming Australian filmmaker. The story concerns a grizzled, middle-aged man roaming the outback Australia looking for first all the easy targets of opportunity. Upon discovering suitable prey is upset your life brutally combinations of bullets and blades. Because of the sparseness of law enforcement and the vast distance between jurisdictions this man, Mick Taylor (John Jarratt), has been active for decades racking up and an uncountable list of victims. In 2013, the sequel, ‘Wolf Creek 2’ was released quickly followed by a miniseries of the same name read on Australian television. That format was sufficiently popular that a second season began broadcasting. This does add credence to the statements made about concerning the persistent popularity of these exceptionally dark themes. I have a very close friend who Australia has assured me that there is no way for a person born and raised here in the United States even begin to fathom how small and alone you feel in the unimaginably fast countryside nation continent. The point of being able to stand in a place where there is nothing between you and the horizon for 360°. Most of us become annoyed me passed through an area with limited self-service and would be hard-pressed to imagine no conductivity for hundreds of miles. This is the setting chosen by Mick ply his gruesome trade. The movie based that’s no time reminding viewers that he is the embodiment of evil. Mick, in his notorious pickup, passes by a speed trap on a lonely stretch of road in North Western Australia. Highway Patrol Officers Gary Bulmer (Shane Connor) and trainee Brian O'Connor (Ben Gerrard) and rate his speed at only 97 km/h in an area zoned for 100 km/h. The panel offices are bored in need of some diversion from the monotonous assignments. Bulmer decides to ignore the fact that the pickup was under the speed limit and decides to pull him over. O'Connor stands by grinning; the old one does his best to humiliate Mick. They eventually had to take it and let him go on his way followed by the overly worn truck. Mick reaches behind himself picking up a large caliber sniper rifle fires exploding the head of the younger officer driving. The patrol car careened off the road, the old officer closing and terror as Mick approaches holding his knife.
Those victims only the prelude to the story, the main event revolves around a pair of German tourists, Rutger (Phillipe Klaus) and Katarina (Shannon Ashlyn), have just hitchhiked from Sydney out to Wolf Creek. They make camp for the night off the side of the road. Much of their misfortune Mick happens along the road pulled over and offered to drive them to a nearby caravan park so they can avoid the fee for camping in the National Park. When Rutger unequivocally declines the offer, Mick becomes enraged pulling out his trusty bowie knife to stab the young man in the back. As Mick ties Katarina up a severely wounded Rutger manages to attack his assailant. Even in the optimum circumstances, the young German is no match for a grizzled, experience killer. Mick readily overcomes him, decapitating the tourist. Katarina, overwhelmed by the brutality that you just witnessed in the realization that the brief time remaining in her life would be spent being raped and tortured, she faints. When she regains consciousness, Mick is busy mutilating Rutgers’s corpse feeding the pieces to his dogs. Katarina does manage to escape running off into the brush. As far as Mick is concerned this is one of the more enjoyable parts of his game, chasing a terrified young woman who the vast outback. He manages to make it to the road she is picked up by Paul Hammersmith (Ryan Corr), and English tourist. Mick is in hot pursuit as he picks up his sniper rifle to kill all. Even for practice marksman, an accurate shot is nearly impossible retreating to vehicles careening down the uneven road. Mick winds up killing Katarina instead. Paul quickly dumps the body out of his car, covers it with the sleeping bag and speeds off.
To his credit the director does come up with a reasonably interesting twist on a standard horror trope, the’ Final Girl’ otherwise referred to as the ‘Survivor Girl.' This is the one very attractive young woman manages to escape the persistent murderer with little Walden determination and resourcefulness. It is not a frequent occurrence, but at this point in the story Paul is now the ‘Final Boy.' The tension extended by the story variation involved with an elderly couple, Jack (Gerard Kennedy) and Lil (Annie Byron). Since it is late and far too dark to travel, they offer Paul a bed for the night assuring him that they would drive him to the authorities in the morning. On cue, Mick finds their home, breaks and steals one of Jack’s guns shooting the elderly couple to death. Next thing Paul realizes he was taken to Mick’s home and his favorite place in the world, his dungeon. Space is filled with various items used for the excesses infection of intense pain, a set up that Tomás de Torquemada would deem ideal for a home version of the Spanish Inquisition. The endgame involves a sadistic game of 10 questions we’re losing a round means losing a finger.
The following is the usual pattern for a call film sequel. The original Wolf Creek was brutal and suitably horrific, particularly the unrated variation. Understandably the television series had to be diluted as far as the visual and visual effects were concerned. Still, it was more of a psychological component to the initial offerings in this franchise. This sequel makes the mistake that is commonplace especially for the genre. They follow all of whom places expectations on the filmmaker to escalate the bloodshed, violence, and generalized mayhem. Even if the overall budget of the film is diminished, a substantial portion allotted to the special effects experts. Purely visceral content has replaced the use of psychological horror to work its way into the subconscious of the audience. Rather than frightening the audience with a well-crafted escalation of psychologically induced terror, the filmmaker has returned this far more efficient method with cheap effects requiring just an inordinate amount of stage blood and some leftovers obtained at the local butcher shop.
The degradation of the franchise is still early in the inevitable downward spiral, so this movie manages to retain its suitability as either a guilty pleasure of fans to the first film or TV series. Hopefully, the lackluster box office response fails to offset by cable, streaming and home media sales effectively. This is as far as anyone should consider taking the story.