With “The Cabin in the Woods,” Goddard deconstructed horror tropes from the inside out in order to explore how slashers and monster movies satiate the collective bloodlust that we bring into the theater. Of the many things his rollicking second feature has in common with his previous one, the most fundamental is that both films take a genre that’s grown painfully stale, step back until we’re looking at it from a god’s-eye view, and then - however damning it might be - force us reckon with what we love about them. As he made clear in his sly and self-reflexive 2012 debut “ The Cabin in the Woods,” he likes to place his characters in a hall of mirrors that only he can see clearly, and he likes to make his audiences to shudder at their own reflections in the glass.
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