Twisted Terror: A Review of “Curve”
In our “Frightful Films” section, we delve into horror movies that, for various reasons, didn’t quite make it to the mainstream cinema spotlight.
Mallory (Julianne Hough), on the verge of her wedding, is plagued by pre-nuptial doubts. Her fiancé, Brad, asks her to drive his car to another city, a task Mallory uses as an opportunity for some serious soul-searching. Along the way, she encounters Christian (Teddy Sears), a seemingly charming guy who helps her jump-start her stalled vehicle. But offering him a ride to the highway proves to be a fatal mistake, as Christian reveals his true, psychopathic nature. An attempt to escape by driving off a cliff backfires, leaving Christian free and Mallory trapped in the overturned Jeep, her leg pinned between the seat and the door.
Director Iain Softley, known for his earlier works like “The Fifth Beatle,” “Hackers,” and “The Wings of the Dove,” faced a career setback after the fantasy blockbuster “Inkheart” (2008) flopped, impacting both his career and that of its star, Brendan Fraser. Since then, Softley directed only one film, the adaptation of Sebastien Japrisot’s detective novel “Trap for Cinderella” (2013), which went largely unnoticed.
“Curve” marks Softley’s attempt to reclaim his Hollywood success, a chamber thriller starring two actors, aiming to blend the Oscar-winning “127 Hours” with a typical “maniacal” horror. Mallory’s predicament mirrors that of Aron Ralston in Danny Boyle’s film – she’s without water, food, and her mobility is severely limited. However, Mallory’s situation is complicated by the presence of a deranged psychopath who periodically checks on his captive. The plot follows a familiar path – devouring a stray rat, attempting to drink urine, and contemplating amputating her leg with a saw thoughtfully left by Christian.
A Missed Turn?
Like many films of its kind, “Curve” has its share of illogical moments and contrived situations (like an iPhone that miraculously lasts for three or four days!). However, these are not so numerous as to cause excessive frustration. The real issue is that Softley fails to maintain suspense, opting to approach the film not as a gripping thriller, but as a meditative feminist drama. In this narrative, a suppressed woman transforms into a warrior, gradually shedding her past life as Mallory discovers unsettling truths about her fiancé.
This approach could have been compelling, but reportedly, producers (including Jason Blum and Jaume Collet-Serra!) intervened during filming, reminding Softley that they had commissioned a thriller. Consequently, the final fifteen minutes devolve into a forced cat-and-mouse game with the maniac, undermining the feminist themes and reducing “Curve” to just another forgettable horror flick from Blumhouse.