The town of Maiden Woods is at risk. A fabled beast has been freed from the nearby forests and is currently on its way to town, devouring animals and subsequently humans. While stopping the beast, Sheriff Paul Shields (Kevin Durand) and his deputy Donny Saunders (Lukas Haas) face their own demons and fears.
As the danger grows, Shields and Saunders may be the only ones who can keep Maiden Woods safe. The 2014 monster film Dark Was the Night, directed and produced by Jack Heller, is the subject of this video. The monster-in-the-woods horror film from Jack Heller aspires to be the stuff of nightmares.
Rather, it soothes the audience into a deep slumber. Dark Was the Night is too basic and familiar to leave an impression, despite its focus on character relationships and a slow burn mood.
You have found a fascinating film to add to your library if you love the sweet anticipation that comes from the gradual and painstaking uncovering of a creature throughout a film. The creatures hide outside the significant setting, Maiden Woods, in Dark Was the Night, which is mostly a family narrative. A weird beast stalks an upstate New York community in this well-crafted horror thriller that makes up for a lack of original ideas with a good atmosphere and restraint.
Maiden Woods is a remote and tranquil town filled with trustworthy and hardworking individuals. Something is still churning in the dark forests that surround this remote village. The film begins on the outskirts of town, at a logging operation. It is immediately obvious that people have made mistakes, and there are consequences.
You are given a feast of monster genre clichés not even two minutes into the film, featuring severed arms on the ground and victims being assaulted by an unknown beast just off-screen. This film opens in a logging camp, which is a setting that is rarely seen in modern cinema. In a frightening wilderness set against an awful grey sky, trees are hacked and woodlands are shredded. It is the last day of work.
The guys are supposed to be arriving, but a supervisor talks into his walkie-talkie; he’s frustrated because he’s not getting an answer from certain workers. “I won’t hesitate to lock you guys in for the weekend,” he adds, and when he doesn’t get a response, he heads deeper into the woods to investigate. This is obviously bad news for our hero, Sheriff Shields, because it’s a movie, and you can bet your bottom dollar that the creature will make a beeline towards town.
Sheriff Shields, on the other hand, is a profoundly broken guy. One of his two boys perished before the film’s events in what appears to be a horrific drowning accident. It destroyed his marriage and turned him into a blubbering mess who believes he can’t defend anyone if he can’t even protect his own son.
It turns out that their issues come from the untimely death of another kid, which Shields could not avert. This sets up the entire self-blaming-taciturn-father-figure-finds-a-chance-at-redemption scenario. The Sheriff soon finds himself catching short glimpses of the threatening beast, accompanied by his devoted deputy (Lukas Haas, Witness), transferred from New York City. Their big-city roots inspire more than scorn among the country’s population.
Donny has skeletons as well. Later in town, Sheriff Paul Shields and his new New York officer, Donny Saunders, talk with farmer Ron, who claims one of his precious horses has been abducted. Yet, it is presumed the horse just fled through an open hatch without evidence of the crime.
Paul then departs to pick up his son Adam from his wife Susan, who no longer lives with him following the untimely loss of their other son, Tim. Adam sees a thing in the backyard that night, and when Paul investigates, he hears but does not see a gigantic creature in the trees.
The following day, Paul discovers enormous tracks in the snow surrounding his house that look like a two-legged animals with hooves. Donny informs him that the footprints are all throughout town, surrounding everyone’s residences. Following the footsteps into the woods, Paul and Donny see enormous claw marks on the trees where the footprints vanish.
Paul feels the whole thing is a joke after learning from park authorities that no known animal with hooves could traverse such a distance on two legs. Later, Paul learns from the village priest that his dog has gone missing and many other animals. Shields and his new, city-slicker deputy, Donny, strive to figure out what’s happening in the woods as the evidence accumulates that something unusual is going on.
We get glimpses of the beast here and there, but nothing is certain until four hunters are discovered, ripped limb from limb in a forest near the town. Immediately after that, a snowstorm comes in, fully engulfing the city in whiteout conditions. Later, Paul learns that not only the village priest and his dog have gone missing but many other animals as well…
Paul then visits a nearby shop, where Ron’s daughter Clair and many hunters confront him about their worries about old Indian traditions of animals dwelling in the woods, which Paul rejects. Earl, another hunter, warns Paul that all of the deer and other woodland creatures have vanished even though it is the hunting season, implying that a massive new predator is in the region.
Is it a prank or a beast, but it all boils down to an old narrative from the nearby forests? As the creature/s are always present but never ultimately shown until the third act, a strong feeling of dread permeates every inch of the screen.
As Paul takes Adam home, they notice a giant beast in the backyard. Still, when Paul investigates, all he discovers is a bridle up a tree, which he verifies belongs to Ron’s missing horse. The next day, Paul and Susan meet with Adam’s teacher to discuss how Adam manages his brother’s death, which causes Susan to feel furious and unhappy.
He’s juggling his work responsibilities, with his troublesome personal life, including his perennially scared young son, whose behavior issues at school create a rare humorous moment when the parents have a tense meeting with a grade school teacher. Soon later, a massive flock of birds soars over the chapel. In movies, a screamed flock of birds is nearly always a terrible omen.
Their approach was unorthodox. Because they were heading south rather than north, this corroborated Earl’s notion that the region’s fauna is under pressure and is receding. That night, Paul is summoned to Ron’s farm. He witnesses the thing attempting to enter the horses’ stables before fleeing, leaving behind different tracks indicating the hoof is divided into three portions. However, most cloven-hoofed creatures only have two.
As wildlife disappears and animal migrations are interrupted, the community murmurs Shawnee Indian stories of a Wendigo-like entity hunting Maiden Woods. That night, Paul sees a mutilated deer along the road, but before he can move it, the thing approaches and takes the body with it.
Donny wonders whether it isn’t just a previously unknown woodland predator, akin to giant fish species assumed to be extinct that are actually still alive deep in the ocean. With the brief sightings continuing, including several from his son Adam, Paul attempts to quell the speculation. However, after discovering the collar of Ron’s lost horse amid the trees in the wilderness, he becomes suspicious of himself.
When the creature strikes again in the barn, Paul and Donny find themselves back at Ron’s property. They discover claw marks and additional three-toed hoofprints they cannot identify in the morning. Paul continues investigating the stories and discovers the Wendigo Indian legend.
The beast in the woods attacks three hunters the next day. Two people are slain, and just one makes it back to town. The remains of the two deceased hunters are subsequently discovered high up in the woods. Paul locates one of the injured hunters and listens to his description of what had occurred. Jim, Earl, and the rest of the community are forbidden from entering the forest by Paul.
Tanner then provides Paul with a report on what happened at the logging camp. Paul directs that no more hunters will enter the forest and that everyone in town must stay indoors at night. He also reports the two fatalities and orders the deployment of two dozen park rangers to hunt down and kill the beast within 24 hours.
That night, a massive snowstorm strikes the surrounding region, forcing the majority of the inhabitants to run for shelter. Jim gives Paul and Donny a surveillance video that depicts the beast. The loggers, Paul believes, upset a cryptid and pushed it south. The creature is imprisoned and threatened since it has run out of trees to continue its trek.
The dots begin to connect, and it is soon understood that they may be dealing with something supernatural, something that lives outside of our known world. The Sheriff and his kid are having a sleepover at his house when they hear weird noises outside. When Paul and his kid are imprisoned inside his home, the hypothesis quickly becomes a nightmare for them.
Donny comes and helps in scaring the creature into the darkness. Paul then orders everyone in town to seek refuge in the church for protection. If the Devil was indeed on the loose, he wouldn’t be hanging around at a church. As Paul collects everyone who did not leave inside the church, convincing them that it is the safest place to stay until the park rangers arrive in the morning to hunt and kill the beast.
The town residents have their reservations, but they all feel safe at the end of the day because they trust the Sheriff. The beast attacks the church, and Susan tries to persuade Paul to forgive himself for Tim’s murder. With things breaking here and there inside the church, Paul guides everyone into the storm shelter in the church’s basement. He assigns the hunters to watch the entrance before dispatching Donny to kill the beast.
The finale leads to the most action here, with an exceptional battle in the church where the creature comes into focus, generating the most intense stalking and chasing throughout the area that is quite enjoyable while getting the best look at the beast and a genuinely chilling finale that works nicely. For the most part, these are what keep this one afloat. There are a few difficulties with this one.
One of the most significant problems is the painful slow-burn build-up, which does not strike the appropriate tone for a monster film. As darkness comes, the beast rushes into the church. After a cat and mouse game, the officers kill it, culminating with Shields stabbing it nearly eleven hundred times with a Ka-Bar. The townspeople breathe a sigh of relief, yet things seem far too simple, don’t they? Or it may be the start of a new nightmare.
The Wendigo seemed to be a wasted skeleton newly exhumed from the grave, with its bones bulging out against its skin, its complexion the ash grey of death, and its eyes pulled back deep into their sockets. The Wendigo was thin to the point of emaciation, its dry skin clinging tautly to its bones.
Its lips were ragged and bleeding. Its body was filthy and infected with flesh suppurations, emitting a weird and spooky odor of decay and decomposition, death and depravity. The Algonquian Ojibwe, Eastern Cree, Saulteaux, Westman Swampy Cree, Naskapi, and Innu people have long been aware of this species. They have been characterized as giants; many times, larger than humans.
Although depictions differ, these cultures believe the Wendigo is a terrible, cannibalistic, supernatural monster closely connected with winter, the north, coldness, hunger, and starvation. The Wendigo has appeared in several great horror films, including Stephen King’s IT and a Western cannibal story.
Even though the Wendigo has appeared in some television shows and movies, it originated as a mythological Algonquian ghost. The Wendigos, humanoid spirits, were formerly considered to enter humans and inspire gluttony and cannibalism. Their portrayals of pop culture have evolved throughout time.
The beast they constructed for this film was wonderfully acted out in both plot and visual effects, and it did not disappoint. As the creature/s are always present but never ultimately shown until the third act, a strong feeling of dread permeates every inch of the screen. The monster is an incarnation of the Devil. The creature’s actual identity is revealed by its three hooves and goat-like look.
Throughout the film, you want to see the monster, and that hell will break out. It is comparably less effective when the storm clouds roll in and eventually awaken from their spooky slumber. As redemption hits and we close on a familiar last salute, the stress of the unknown becomes a miniature siege bombardment.
The monster is handled beautifully, with peeks here and there, a background growl, and mystery prints until the complete unveiling. But that’s the only tension, and even after the unveiling, there are ludicrous clashes with something lauded for its speed and fury.
The film’s central premise, male protection of feminine, is even more fundamental. The settlement’s name, Maiden Woods, hints at what the guys are guarding. A maiden is a single young woman. Sabina Gadecki plays the virgin in the film. Deputy Donny’s attention is drawn to her. To emphasize this point, the film’s protagonist is named Paul Shields. He is there to protect the entire community.
Meanwhile, Paul’s character journey revolves around his failure to protect Tim, his son. Masculinity has been used as a protective force from the dawn of time. It feels too basic as a cinematic tune to center the picture.
Director Jack Heller demonstrates a strong understanding of horror film mechanics, pouring on the shocks and atmosphere with certainty and vitality. Tyler Hisel’s plot, on the other hand, has an equally strong command of certain weary genre cliches.
An old-fashioned and atmosphere-driven monster film, set in a peaceful small village full of tired and mentally tortured residents, features a monster that stays unseen and cryptic until the end. Solid performances help the emotional elements achieve at least part of the aimed-for gravitas, which elevates the proceedings a notch beyond ordinary horror suspense until the last reel’s obligatory violent playout.
The plot of this picture progressed at a beautiful, leisurely pace until the finale. It produced a sense of panic, which worked effectively since it gives you a sense of how the locals are likely feeling while these events take place. The snippets of what’s lurking in the trees heighten the impact of the climax when the beast is ultimately unveiled.
It begins intriguingly, with superb camera work, a frosty tone to the photos, and a gruesome slaughter that sets us out on our adventure. The focus shifts to the hero’s personal difficulties, and the tempo gradually slows to a dreary crawl. At the same time, he works through his ordinary psychological block.
It’s not the performers’ fault. The rest of the cast is terrific, particularly the wife, who delivers good close-ups – but the ending does involve goofy views of a mob wandering around with nothing to do. While the Sheriff appears to be filled with remorse and grief, which may fit given his tragic past, the constant wailing becomes monotonous in the long run.
Several other cast members give more prosperous, emotionally engaged performances than most horror films offer. However, the subplots and tedious research slowed the pace dramatically in the second half before the finale. Cinematography is its most valuable asset. The visual style of the film is ideal for mystery horror.
Details about the town and its surroundings have a morbid influence on their own. It may, however, take the title too seriously. A few night-time images appear extremely dismal and hazy. Unfortunately, several powerful passages are hampered by choppy editing and unsteady camera work.
Early in the film, a tremendous sense of dread and anxiety is generated. The cause of the suspicion that plagues a small town in the United States is hinted at and glimpsed but not completely disclosed until the last moments. As a result, some could describe Dark Was the Night as sluggish, but that was not what I took away from it.
It’s well-acted, with a strong subplot and terrific character development that propels the tale ahead. The mood and stakes are two more elements that Dark Was the Night nails. Dark Was the Night offers a charming and creepy atmosphere appropriate for a mystery thriller. The winter setting is hugely successful in evoking a sense of isolation, which keeps the tension going even when it falls slightly around the halfway mark.
It’s hampered by pretty bland acting and repetitious plot twists at times, but it still looks and feels polished. The familiarity with everything else around creates a sensation of boredom and comfort. This is exceptionally significant for making the film since it gives Shields a history without excessive exposition.
Conversations take place in the manner they would in this setting and do not feel like forced glances into these people’s lives for the listener’s sake. There are a lot of weird situations in the woods with the sound of falling limbs, followed by something terrifying that leaves deer hunters and deer alike dangling from trees. The build-up to discovering what’s going on in town is entirely intriguing.
The first part of this film offers some incredibly entertaining methods of getting there, from stories about unusual disappearances and sightings in the region to the remarkable notion of having incomprehensible trails running across the area that no one can identify or comprehend.
Once the excellent bird migration occurs and some of the outer proof that someone is out there begins to pile up, this one creates a pretty exciting and terrifying series of events to lead up to everything. Once the build-up is complete, the start of things ramping up and becoming significantly more lethal makes this one exciting and engaging.
This installment may disappoint horror fans. The horror components are confined to the final act. Along the route, you’ll come across dead animals or a bloodied arm hidden behind a tree. However, there is no central tension between the protagonist and his antagonist in the early scenes. Man’s encroachment on the natural environment results in an evil force of nature. That societal message is suggested in a few brief sequences before being dropped for the rest of the film.
This is one of those films that you’ll either love or despise since it received mixed reviews upon its initial release. “Dark Was the Night” is a horror film, a spooky, atmospheric, and occasionally blood-soaked horror film with a lot going for it. The film maintains interest by avoiding typical genre conventions even though it transitions from the innovative logging-camp scenario to a more conventional.
There was some drama, confusion, and, eventually, revelation. And, as it turns out, the journey is made more fascinating by the main protagonists’ feelings of guilt and self-doubt. It’s a fun horror/slasher film that’s worth seeing once.