White Collar Michael Myers

Virtually all horror movies have an element of voyeurism present, why do you think they've cornered the POV shot market? In many ways, the act of spying on people in their most intimate and private moments, from undressing to sexual intercourse to the use of illegal substances, is a substitute for rape in a film, since rape is rarely commercial in for mainstream Hollywood productions. At the very least, you would need some kind of buffer to balance it out, like the bumbling redneck cops in Wes Craven's Last House on the Left. Roger Ebert gave that film three and a half stars, while giving I Spit on Your Grave, which is pretty much the same movie only without the tonal whiplash, zero stars. Oh, Roger, you're such a wacky guy.

Voyeurism often replaces rape in the one-two punch for most movie horrors, to have your life invaded by an intruder just to finally be snuffed out. It's not enough to JUST spy on someone or JUST kill them. Everyone's spied on someone in their lives, be it as something as minor as instinctively looking down a woman's blouse as she bends over. There is a key scene in Cabin in the Woods in which Holden (Jesse Williams) discovers a one-way mirror in his room that allows him to look into Dana's (Kristen Connolly) room and catches himself watching her undress before his better judgements kick in. He ends up switching the room with Dana to make her feel comfortable, and she too falls pray to the same instincts as she watches Holden take his shirt off.

The point of the scene within to the film is to contrast with the main antagonists, two white collar schlubs who peer into and manipulate these kids' final hours. While the film is rightfully thought of as a tongue-in-cheek inversion of trashy slasher movie tropes, it is also the natural extension of them, placing a Jason Voorhess mask and Freddy Krueger sweater onto Nineteen Eighty-Four totalitarianism. Big Brother is the ultimate voyeur, so by right he would be the ultimate slasher killer. Hell, it's the world we live in, from the intimate surveillance to the apathetic administrators, only instead of the state throwing zombies and Pinhead at you, they thrown middle-easterners and Vietnamese. Throw in a little Illuminati symbolism and you might as well call Cabin in the Woods the most American horror film ever made.

Cabin in the Woods has killed the horror genre. Hollywood will keep producing and reproducing films for it, but there is simply nowhere to go after this. The conclusion of the film is a violent slobberknocker where every horror icon ever reigns havoc within the hallways of the Big Brother corporation building, the final death throes of modern horror within the intestines of the ultimate horror villain, the snake eating its own tail. Any horror movie after will be an empty zombified husk of what once came before.