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‘The Last Stop in Yuma County’ Review – An Insanely Fun Single-Location Neo-Noir Thriller

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Last Stop in Yuma County Review

It’s easy to see why writer/director Francis Galluppi is already set to helm a new Evil Dead movie in the wake of his feature debut, The Last Stop in Yuma County. There’s a savage sense of humor and mean streak to Galluppi’s tense, dusty neo-noir western, even as it escalates the pressure cooker scenario. It helps that the film’s charismatic ensemble cast is filled with horror stalwarts, one that Galluppi fearlessly culls through with raucous glee, making for an insanely fun single-location thriller.

A massively delayed fuel truck strands various passersby and travelers at a middle-of-nowhere Arizona rest stop, all waiting to fuel their vehicles so they can move on. That begins with the Knife Salesman (Jim Cummings), who arrives before diner waitress Charlotte (Jocelin Donahue, The House of the Devil) gets dropped off for her shift by her Sheriff husband (The Dark and the Wicked’s Michael Abbott Jr.). Taking up the corner booth at the front of the diner, the Knife Salesman keeps a vigilant eye out for the truck, which makes him the first to realize that newcomers Travis (Nicholas Logan) and Beau (Richard Brake) are newly wanted bank robbers.

It begins a high-stakes hostage situation that only continues to escalate as more people arrive.

Jim Cummings

Galluppi complicates a simple and familiar pressure cooker setup with richly textured characters. It’s a dialogue-heavy effort that lets us fall hard for the quirky bunch stuck together in a desolate diner before the shit finally hits the proverbial fan. Cummings gets the most to do on that front despite his character never revealing a proper name, which feels reminiscent of Ash Williams for his timid, passive approach to the chaos. Still, each actor gets a moment to shine, whether through standoff action or sharp barbs to trade, ensuring that when the deaths start coming, they hurt.

And Galluppi isn’t afraid to kill any of his darlings. Who’s left standing by the day’s end becomes just as surprising as the insanely entertaining journey getting there.

It’s Galluppi’s dark, demented sense of humor that keeps his debut grounded even as its massive cast grows even bigger, nearly spiraling the emerging chaos out of the filmmaker’s grasp. A couple of late additions in Ryan Masson and Sierra McCormick threaten to topple over the carefully stacked house of cards, adding just a touch too much insanity to the mix, but it’s quickly quelled once the violence explodes.

Michael Abbott Jr. in Last Stop in Yuma County

More than just sharp writing and clever world-building, The Last Stop in Yuma County punches above its weight in terms of budget. The single location setting is richly textured, with production designer Charlie Textor (The Wolf of Snow Hollow) ensuring the rest stop has as much personality as the eclectic group stuck there. The vibrant color grading further enriches the production value. Despite the desolate setting, The Last Stop in Yuma County is bustling with life and boisterous personalities, reflective on screen in every facet.

The Last Stop in Yuma County adds rich complexity to its simple premise through unpredictability, palpable tension, and pitch-black humor. There’s no guessing how the wacky events will play out because there’s no predicting which one among the robust ensemble will crack under pressure or give in to temptation. Galluppi makes it so effortlessly easy to get sucked into this slick, singular world and invest in its characters, only for the filmmaker to revel in dispatching them. That impressive high-wire juggling act makes it easy to see why Galluppi already has bigger things on the horizon.

The Last Stop in Yuma County releases in theaters and on Digital on May 10, 2024.

4 out of 5 skulls

Horror journalist, RT Top Critic, and Critics Choice Association member. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

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‘The Strangers: Chapter 1’ Review – New Trilogy Kicks Off with a Familiar Start

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The Strangers Chapter 1 review

Rebooting and expanding upon Bryan Bertino’s chilling 2008 horror film in a brand new trilogy, all installments already shot as part of one continuous, overarching story, makes for one of the more ambitious horror endeavors as of late. It also means that The Strangers: Chapter 1 is only the opening act of a three-part saga. Considering it’s the entry most committed to recreating the familiar beats of Bertino’s film, Chapter 1 makes for a tricky-to-gauge, overly familiar introduction to this new expansion.  

The Strangers: Chapter 1 introduces happy couple Maya (Madelaine Petsch) and Ryan (Froy Gutierrez) on their way to starting a new life together in the Pacific Northwest. Car troubles leave them stranded in the quirky small town of Venus, Oregon, where they’re forced to stay the night in a cozy but remote cabin in the woods.

Naturally, the deeply in love couple soon find themselves in a desperate bid to survive the night when three masked strangers come knocking.

The Strangers Clip Madelaine Petsch

Madelaine Petsch as Maya in The Strangers. Photo Credit: John Armour

Director Renny Harlin, working from a 289-page screenplay by Alan R. Cohen & Alan Freedland that was broken into three movies, keeps Chapter 1 mostly self-contained to recapture the spirit of the original film. The core remains the same in that it’s reliant on the eerie stalking and escalating violence that builds toward a familiar conclusion, but Harlin mixes it up a bit through details and set pieces that hint toward the larger story around Venus itself. The early introductory scenes establishing both the protagonists and their setting offer the biggest clues toward the subsequent chapters, with the bustling diner giving glimpses of potential allies or foes yet to come- like the silent, lurking Sheriff Rotter (Richard Brake). 

One downside to announcing this as a trilogy is that we already know that the successive chapters will continue Maya’s story, robbing more suspense from a film that liberally leans into its predecessor for scares. The good news is that Madelaine Petsch brings enough layers to Maya to pique curiosity and instill rooting interest to carry into Chapter 2. Maya begins as the gentler, more polite half of the young couple in love, but there’s a defiance that creeps through the more she’s terrorized. On that front, Petsch makes Maya’s visceral fear tangible, visibly quaking and quivering through her abject terror as she attempts to evade her relentless attackers.

The Strangers – Chapter 1. Photo Credit: John Armour

It’s her subtle emotional arc and quiet visual hints toward the bigger picture that tantalize most in an introductory chapter meant to entice younger audiences unfamiliar with the 2008 originator. The jolts will have a harder time landing for fans of Bertino’s film, however, even when Harlin stretches beyond the cabin for stunt-heavy chase sequences or gory bursts of violence. It’s worth noting that Harlin’s tenured experience and cinematographer José David Montero ensure we can grasp every intricate stunt or chase sequence with clarity; there’s no worry of squinting through the dark, hazy woods to make out what’s happening on screen. A more vibrant color palette also lends personality to Venus and its residents.

The Strangers: Chapter 1 exists in a unique place in that it’s the first 90 minutes of what will amount to a roughly 4.5-hour movie yet doesn’t give much away at all about what’s ahead, presenting only part of the whole picture. Chapter 1 does a sufficient job laying the groundwork and delivering horror thrills but with a caveat: the less familiar you are with The Strangers, the better. Harlin and crew get a bit too faithful in their bid to recreate Bertino’s effective scares, even when remixing them, and it dampens what works. The more significant departures from the source material won’t come until later, but look to a mid-credit tease that sets this up.

The Strangers: Chapter 1 doesn’t establish enough of its own identity to make it memorable or set it apart, but it’s just functional enough to raise curiosity for where we’re headed next.

The Strangers: Chapter 1 releases in theaters on May 17, 2024.

2.5 out of 5 skulls

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