Dark Ride 2006 Review
Dark Ride 2006
Directed by: Craig Signer
Starring:Jamie-Lynn Sigler, Patrick Renna, David Clayton
Review by Luisito Joaquín González
The strength of TV shows like The Wire, Breaking Bad, Walking Dead and Broadwalk Empire make it easier to forget just how good The Sopranos was. It’s been seven-years since the last episode and I recently began the whole series again from the initial pilot on DVD. It was whilst watching that I was reminded of this slasher movie that includes Jamie-Lynn Siger as its heroine. She is of course the actress best recognised as Meadow Soprano and her notoriety was a key element for the marketing of this flick. I recall being excited when it was in development, bought a copy upon release and then never actually got round to watching it. Finally I decided that I had to change that..
In my review of Scream Park recently, I mentioned my love of Funhouse; a stalk and slash movie that used an amusement park as a backdrop. It took a while after the Scream-inspired rebirth, but director Craig Singer decided to revisit the location once again for this glossy stalk and slasher.
Six friends head off on a road trip for their break, but whilst travelling, they decide to spend the night at an abandoned theme park. They are not aware however that an escaped murderer has taken refuge inside the complex and he soon begins to slash his way through them.
I must confess that Dark Ride successfully took me back somewhat to the glory years of the eighties. A group of kids heading off in a van to a location where they plan to stay the night but are stalked by a hulking asylum-escapee brought memories of The Prey and Terror Night streaming to my mind. It wasn’t only the set-up that felt nostalgic, because in Jonah, we have a psychopath that was highly reminiscent of Jason Voorhees during his prime. The fact that he stalked with an awkward lumber and wore a chilling mask really helped to give him that deranged presence. Whereas the majority of Scream clones often got lost in their dedication to deliver a compelling mystery, this screenplay ignores the whodunit aspect and instead goes all out to thrill with an antagonist that’s identified from the start.
Craig Signer directs with a contagious bundle of energy and engages us neatly with creative photography and razor sharp flourishes. He utilises the possibilities of the amusement park location perfectly by constantly swooping his lens and revealing a deft capability for pulling the best from his backdrops. One stalking sequence through the tight pathways behind the thematic decor was reminiscent of Michele Soavi’s Stagefright and when the killer strikes, it’s usually always well-timed. We are also treated to an abundance of gooey red-stuff and one killing in particular is exceptionally gruesome. A hapless security guard turns up and almost saves the day, but before he gets a chance to rescue our petrified heroine, his head is split in half like a melon by Jonah. You can see it in the video above…. Ouch!
Whilst Ride includes a lot that links well to its elder peers, it does fall foul to a flaw that is found more commonly in new-age entries. We are given almost an hour of character development, which shows that Signer really wanted to deliver defined personalities. The only problem with this approach is that they’re such a whiny bunch of brats that it’s impossible to like or relate to them. Spending the best part of sixty-minutes listening to bickering is not enough to prevent those first three-quarters from dragging and it makes it harder for the film to recover. Jamie-Lynn Siger had for seven-years delivered such a balanced portrayal as Meadow Soprano that she held her own against a heavyweight like Gandolfini. Here though she doesn’t look to be half as motivated, which is bizarre as I’d have expected more from a feature film performance.
The idea of pitching a group of teens against a maniacal assailant is something that doesn’t need much work from a screenwriter, but not much doesn’t mean none at all. In honesty, the script felt rushed and left gaping plot holes that were tough to ignore. Tobe Hooper’s Funhouse gave us a reason as to why it’s victims were trapped within the ride, but here not one of them realised that they could follow the track to the exit, which was baffling. We get a twist that is easy to foresee and relied heavily on coincidence to have worked. By the time it arrives, it felt unnecessary and like one layer too many.
Dark Ride is a tough film to review, because it does a lot that I consider to be spot on and I really appreciated that. It came so close to being a perfect tribute that I was perhaps more disappointed that it couldn’t live up to the expectations it had set for itself. In the end though, this was more down to me wanting it to be ideal than it actually being so. It is still a polished slasher movie with a lot to be admired, but when it’s over, you wouldn’t shout for more
Killer Guise: √√√
Final Girl √√