The problem with many horror or suspense films is that the actions of those in danger in them often don't seem to make sense to the viewer. Of course, most of us think we'd act in a certain way if trapped in some dire situation -- whether it is facing an angry ghost or homicidal maniac -- but really have no idea how we'd respond under such circumstances.
Sitting on the other side of the screen and thus removed -- to whatever degree -- from the proceedings, however, we're free to pass judgment on the validity of an onscreen character's actions when faced with a fight or flee situation. Most directors of such films know this, and thus goose the viewer by making the potential victim do something stupid that ends up potentially putting them in harm's way.
That's part of the unofficial "agreement" between filmmakers and viewers in that both sides know it's just a game and that as witnesses we're supposed to go along for the ride by thinking or even yelling out "Don't go in there!" "Turn on the lights!" or "Watch out, he's behind you!"
The rules are different, however, when that sense of knowing fun is purposefully removed. With such playfulness gone, the actions of those in trouble need to stand up to intense scrutiny. If they don't, the graphic realism of the moment becomes shattered by the viewer's disbelief in what the character does.
Such is one of the problems in "High Tension," a stripped-down, throwback horror film that will likely remind some viewers of Wes Craven's 1972 shocker, "Last House on the Left" along with other such gritty films from that era, including Steven Spielberg's "Duel." Like those efforts, the plot here is incredibly simple. While visiting her friend's family, a young woman finds her world turned into a nightmare when a homicidal maniac shows up, murders the family and kidnaps the friend. The woman then sets out to rescue her friend from him and then has various close calls with the killer before the big, climatic showdown.
As directed by Alexandre Aja -- who penned the script with Grégory Levasseur (their previous collaborative efforts being "Break of Dawn" and "Furia") -- the film works by tapping into the most primitive regions of our brain. A sadistic, animalistic killer is trying to murder our heroine, and by instinctual default, we want her to survive.
With a sparse amount of dialogue -- which is a good thing since the English dubbing on this French film is atrocious at best -- the picture doesn't take long to get rolling and never really stops once it does. There are plenty of hide and seek scenes that are sure to enthrall and/or scare many viewers, and Aja is more than adept at ratcheting up the suspense and horror (and teases the audience early on with all sorts of creaky sounds in the family's house before the mayhem begins).
The problem is that the film needs the viewer to turn off their brain and just let their primitive, instinctual responses carry them along for the ride. And that's because the issue of believable or credible actions soon arises. Simply put, the main character -- otherwise decently embodied by Cécile De France ("Around the World in 80 Days," "A+ Pollux") in something of a "Duel" meets "Run Lola Run" manner -- starts doing things that just don't make sense. Like taking a moment to rinse off her face in a public bathroom just seconds after the killer was there and nearly found her (the sounds of her running the water would surely draw the killer's attention, correct?).
Then there's the fact that the killer -- played with zero dimensionality by Philippe Nahon ("Irreversible," "A Private Affair") but oddly looking like Robert Shaw's character in "Jaws" -- comes off as too smart and all-knowing when it comes to looking for and/or toying with his would-be victim.
It's almost a joke -- as would have occurred in the spoofy "Scream" flicks -- but since this is a joke-free picture, such actions end up removing the viewer from the proceedings as they try to analyze how and/or why he'd be acting the way he does. Yes, it's all designed to unsettle the viewer in the moment, but it only works if said high brain functioning is paused in favor of reptilian instincts.
Of course, all of that and more is explained at the end, but that's where the filmmakers take their biggest misstep. Following on the heels of M. Night "I've Got a Surprise For You" Shyamalan, they've decided to throw in the big twist at the end to wrap things up and supposedly shock the viewer even more (although the incredibly graphic gore and bloodletting surely does the job). I won't divulge the revelation, but let's just say that it will likely leave many viewers feeling cheated after investing their time in watching what otherwise looked like a straightforward and bare-bones, horror-tinged suspense flick.
I will say that it nearly makes one want to watch the film to make sure all of the loose ends match up (I don't think they do, but the nature of the revelation ends up providing an out for those that don't). It would be interesting to see if it actually plays out better -- especially regarding the earlier questionable actions and motives -- when one is armed with the knowledge of what's really what, but it's otherwise not good enough to warrant a second viewing.
Decently effective for a while -- for a gruesome suspense flick but certainly not one for all viewers, particularly the squeamish -- the film initially works on an instinctual response level, but eventually falls prey to its own trappings and attempted cleverness. "High Tension" rates as a 4 out of 10.
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