As an exercise in metatextuality, The Cabin in the Woods really only rises above mere cleverness once, when the small band of attractive college undergraduates gather in the living room of their rustic soon-to-be deathtrap to play a game of truth or dare. The one christened as the dumb blonde of the group is dared to make out with the taxidermied head of a wolf. The wolf—surely a big and bad one, before the axe fell—has teeth so sharp and eyes so bright one is tempted to think its mouth will snap closed, devouring our poor heroine. It’s a nice bit of tension, yes, but its jaws never clamp down. Instead, this young, blonde woman makes out with the head of a dead animal. She has three audiences: Her friends, the men and women watching on monitors from an undisclosed location, and you. Presumably, all three are titillated, and for precisely the same reason: Something pristine, unspoiled, and innocent (remember, blonde hair is a trigger for sympathy) is being deflowered by something wild, merciless, and foreboding. Read more