Serial killers have already been in the fashion. It seems that every week there is a new documentary or a new adaptation of some real-life events that involve serial killers or their victims. There is such a fascination with these people hard to resist. They seem to fascinate, but they’re understandable. They exist outside the conventions of modern society. Of course, filmmakers can take the opportunity to make watchable people. What a wounded scare is a film for a few days now available in Shudder.
A Wounded Fawn is a film directed by Travis Stevens and stars Sarah Lind and Josh Ruben. It’s a movie where a serial killer named Bruce kills women and gets attention that he gets nowhere else. Bruce seems to be able to remain unnoticed, and he’s ready to move on his new victim, Meredith, a museum curator. While the plan isn’t going to take a turn, Bruces is not going to be able to do so much, it’s not going to happen as long as he wishes.
The Wounded Fawn is clearly split into two halves. First is a classic murder and crime scenario. As the audience, we know what’s going to happen. The tension grows with every passing minute as we see Meredith rushing into the killers den without clues to what’s going to happen with her. This is a classic gun of Chekovs, that is best used. The second half is a madness as Bruce navigates between the inside and outside the reality and sees with his own eyes the terrifying landscape of his mind.
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One half of the film is quite good, and one half not so much. The story is very unnatural, and it is possible that this is just half a movie. As soon as that first half ends, the movie gets more abstract in a few minutes. The movie uses the most amazing stuff, as it is, a fact that very few people do not do. To get there, the road to the city is pretty broad, in a way that wouldn’t be boring other than expanding the runtime of the movie, so it’ll go for 90 minutes.
The idea for a Wounded Fawn would have worked much better if it had been an episode of an anthology or as something like that. I’m talking about what I want to bring up for a minute. I think the second half’s surreal imagery gets a lot lost in a minute. The movie becomes somewhat tortured at that time, and it begins to feel like one of those dream-tinted sequences, that didn’t have any sort of final result. It’s just reminded me of the famous episode of Living in Color.
This is very funny, especially in the first half. Sarah Lind is very compelling. I would love to see more about her in the film. Josh Ruben is fine, but as far as serial killers go, he might be one of the few most interesting portraits of his recent memory. It might be intentional, but focusing the most part of the movie on a character so simple that the viewer needs a lot of attention. The truth is that the facts of Greek mythology and such, but the reason for this connection is to have context with, stating that this story is in reference to classical and just that.
Despite its visuals and direction, the movie excels. It has a very cool and rich sequence in the second half of the film, and as its filmed in 16 mm, the movie’s texture is very beautiful. Which is the kind of film that aspires to repeat. There is many Giallos in this movie, and although it won’t really hit the heights of classics in that genre, it’s well-known to its clients in that particular movie. Sonia Foltarz, Taylor Barry, Erin LaSorsa, and Yusuf Mohammad really deserve a shout-out for their work here.
The second half of the movie is very well-singing, but it never fails to get hit in one of the balls that we hit. That said, 45 minutes of wasted time could have been a more concentrated or at least a more concrete act while preserving the surreal element.
In the end, A Wounded Fawn is something different in the new horror films, which have been known to be more conventional lately than many years ago. Of course it appears to be wrong to say that the story isn’t true. Because the director’s visual design really does the heavy lifting, especially in the second half, when the characters are essentially lose in oblivion.