If I were to plot a line graph based on Wes Craven's directorial career, the result would have more peaks and troughs than the Himalayas, with it being nearly all trough since the start of the millennium; My Soul To Take would make the line drop off the bottom of the page.
With a convoluted plot that introduces far too many ideas for its own good (none of them very original), and a cast of characters guaranteed to annoy the hell out of anyone over the age of 20, this film represents a new low for the director, whose desperate struggle to remain hip with the young horror crowd is truly embarrassing.
The ridiculous dialogue spouted by the obnoxious teens in this film is possibly the most grating aspect and halfway through I had to pause the film it to see who had written this garbage—turns out it was Wes himself. It's been twenty years since the last good film written by Craven (The People Under The Stairs)—it would seem that the well of ideas has run dry (and after the mess that was Scream 4, I wouldn't bother calling Kevin Williamson for help).
With a convoluted plot that introduces far too many ideas for its own good (none of them very original), and a cast of characters guaranteed to annoy the hell out of anyone over the age of 20, this film represents a new low for the director, whose desperate struggle to remain hip with the young horror crowd is truly embarrassing.
The ridiculous dialogue spouted by the obnoxious teens in this film is possibly the most grating aspect and halfway through I had to pause the film it to see who had written this garbage—turns out it was Wes himself. It's been twenty years since the last good film written by Craven (The People Under The Stairs)—it would seem that the well of ideas has run dry (and after the mess that was Scream 4, I wouldn't bother calling Kevin Williamson for help).