Central Park Opts Urban Setting, Same Slasher Concept
Central Park Film Details
Director: Justin Reinsilber
Writer: Justin Reinsilber
Release Date: June 3rd, 2017 (Premier)
Release Format: TBA
MPAA Rating: N/A
Genre: Horror, Thriller
Running Time: 1h 30min
When a New York billionaire is disgraced by the collapse of his Ponzi scheme, the devoted friends of his teenage son rally around him. As the doors of their gilded world shut to him, they set out for an epic night in Central Park to blow off some steam. Little do they know the consequences of his father’s crimes will go far beyond his client’s bank accounts. A vengeful soul waits in the trees, and the sins of the father will soon be visited on all the children with the help of a sharp blade.
What is the consequence when incorporating a group of pretentious young adults, a deranged psychopath, and an intimate environment? The result; the survival factor dwindles among the unsuspecting prey. Valueless characters would meet gruesome deaths.
Thanks to Wes Craven‘s 1996 satirical concept current slasher films have drifted from clichés. Or did they?
For slashers, all narrative principles remain in position. Not much diversification can happen to an already concrete design. Slasher films make for good entertainment, a class of medium that is most translated as a popcorn flick. The story of these films need not be elaborate. In fact, the core proposition is the downfall of nerve-rattled youth.
Central Park is a satisfying effort. The production occurred in the landmark attraction, the titular locale. As New Yorkers we here at DecayMag can appreciate a New York based Horror production. Yet, how does Justin Reinsilber’s directorial debut fair with theory and approach?
Justin Reinsilber penned an interesting narrative for Central Park. The film develops into a manifesto to communicate social commentary. Roots for this narrative gather from headline news. This places Central Park on the level with reality-based logarithms. Characters, though superfluous, have a satisfactory attachment to the story. Our first evaluation of the trailer suggested that the African American roles may not have had an established presence. It’s most pleasant to see the protagonist, Harold Smith is African American. Added subplots also serve as an effective contributor to the narrative.
The villain Reinsilber creates is climactic and has iconic status. He, the murderer, bears internal discord that inspires his monstrous actions. Vengeance becomes the guiding element for the assassin, this is not uncommon in slashers. Each of these films concentrates on avenging a loss in some for or another. Strip away the modifications in environment and offense and Reinsilber’s narrative mirrors every other slasher film.
The principal cast did the essentials to communicate fear and weakness. Not much to define caliber. It’s expected, based on role composition. An exhibit of the character breakdowns can emphasize this observation. With exception with two characters, there was a lack of back story. Most roles required running, shrieking, stumbles and/or dying. Malika Samuel‘s character got thrown into the story line only to promote a death toll.
Each cast member contributed a defining on-screen appearance. Central Park did not have the atrocious B-movie acting element. This is a comfort since most indie slashers are ripe with amateurish performances.
The cinematography was effective. Most of the filming occur outdoors. This uncontrolled environment presents many difficulties. Yet, the composition includes establishing shots and defined camera control. Reinsilber did not elect for a simplistic approach to filmmaking. He established proper control of low and wide angles and tracking shots to convey mood. Yet, it’s the clever use of extreme close-ups that help accentuate the antagonist. The costume reveal was reserved for the appropriate moment.
Central Park despite its modern slasher retelling carries the hallmarks of a slasher. A novel prose was absent in this production. Redefining? it up for discussion. Obvious highlights are unmistakable. Yet, clichés do make a cameo and thus impair the narrative. In fact, the slasher theme felt lazy against the intricate plot Reinsilber conveyed. Placing the group of young adults in Central Park is akin to providing Camp Crystal Lake as a backdrop.
The executioner needed refinement, a more calculated method. Unless Jason Voorhees fell prey to a Ponzi scheme the adversary in Central Park does not convey believability.
Central Park presents a suitable viewing. The plot whiles familiar is engaging with each role having convincing composition. A slasher concept doesn’t hold a position in Reinsilber’s production. The vengeful drive could have worked differently thus improving the film’s aesthetical altogether. Strip away the hack and slash nonsense and Central Park will upgrade to a better defining position. There exist alternative approaches to include the pompous youngsters just not how it’s displayed in its present element.
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