A Cabin Getaway You Won’t Want to Revisit

Read Time:5 Minute, 37 Second

MOVIE REVIEW
Fear Cabin: The Last Weekend Of Summer
–

Genre: Horror, Supernatural
Year Released: 2024, Cleopatra Entertainment DVD 2025
Runtime: 1h 17m
Director(s): Brian Krainson
Writer(s): Brian Krainson
Cast: Jeremy London, Brian Krainson, Jennifer Barlow, Brody Wellmaker, Violet Sinclair, Tea Karlsson, Parker Denning
Where to Watch: available now, order your copy here: www.cleorecs.com, www.mvdshop.com, or www.amazon.com

RAVING REVIEW: There’s a certain appeal to the “friends in a remote cabin” setup — it’s practically baked into horror’s DNA. Done right, it’s a playground for tension, supernatural chaos, and blood-soaked fun. FEAR CABIN clearly understands the formula, but instead of using it as a springboard for something new, it settles for familiar strides and a patchwork of cliches that never gel into a cohesive or engaging whole. If you don’t follow my socials (which you should), I define a 1.5-star film as “An experience that was hard to get through but not beyond some redemption.” And this is the definition of a film like that. It wasn’t so much “bad” as it was something we’ve seen before, on a budget, with a lot of experimentation.

The story follows six friends as they head to a lakeside cabin for one final weekend before summer ends. It’s the sort of setting that should drip with foreboding, but here, the atmosphere feels borrowed from other films without the same craftsmanship. Before long, they stumble onto occult rituals and malevolent forces, a combination that promises dark intrigue but delivers a strangely flat experience. Even the film’s ideas get buried under clunky pacing and acting that rarely rises above community-theater energy.

Director Brian Krainson, who also appears in the film (and wrote, produced, edited, etc.), aimed for a blend of supernatural horror and tongue-in-cheek camp. Unfortunately, the balance doesn’t quite land — moments that might have been tense are undercut by awkward delivery, while scenes that lean toward comedy feel unintentional. The dialogue often reads like filler, dragging out scenes that could have been tight bursts of suspense. There’s something to be said for a chef wearing too many hats, and this is a perfect example.

There are sparks of intrigue in the production, most notably in the use of practical effects. A few sequences involving the supernatural and low-budget stunt work carry a certain charm for viewers who appreciate handmade horror. At times, this commitment to practical effects is the film’s real distinguishing trait, setting it apart from other microbudget projects that rely entirely on cheap digital enhancements (nothing burns me more than the fake blood splatter effect).

One recurring issue is that the narrative feels generic from start to finish. Horror thrives on either breaking rules or mastering them, but FEAR CABIN does neither. It borrows liberally from influences like EVIL DEAD, CABIN FEVER, and CABIN IN THE WOODS without capturing the energy, humor, or subversion those films brought to the table. The result is a movie that plays like a loose reenactment of better-known titles — less homage, more imitation.

Performances are uneven across the board. Brody Wellmaker and Violet Sinclair attempt to bring personality to their roles, but their efforts are hindered by a script that provides them with little to work with. Jeremy London’s presence may catch the eye of ’90s TV fans, yet his role is too small to leave much of an impression. The ensemble never quite clicks, and without that dynamic, the supposed “friend group” feels more like a set of characters who just met on set.

It’s also worth noting the film’s relationship with its era. While some design choices hint at a throwback aesthetic — perhaps mid-century — the costumes and props (cell phones) are unmistakably modern. This mismatch could have been stylized, but instead, it comes across as a continuity oversight.

There’s an argument to be made for the “so bad it’s fun” category of horror, where rough edges become part of the entertainment. FEAR CABIN flirts with that territory — blooper reels in the credits suggest the cast had fun, and there’s an unpolished enthusiasm visible in certain scenes. But as much as some viewers might enjoy laughing at the more awkward moments, the movie never fully embraces its potential as camp. It sits in a middle zone where it’s not scary enough for serious horror fans, and not outrageous enough for bad-movie enthusiasts.

If there’s a compliment to be given, it’s that the cast and crew enjoyed themselves. This wasn’t a cynical cash grab churned out for streaming algorithms (see all AMITYVILLE sequels after part 9); it feels more like a passion project from friends who wanted to make a horror movie together. In that sense, there’s an earnestness here that’s hard to dismiss completely. Unfortunately, good intentions can only carry a film so far, and FEAR CABIN just doesn’t have the polish to leave a lasting mark.

In the end, FEAR CABIN is the kind of film that might pop up at a late-night festival slot or on a bargain-bin DVD shelf, appealing mainly to completists who seek out every obscure horror release. For everyone else, it’s a trip to the woods best skipped.

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[photo courtesy of CLEOPATRA ENTERTAINMENT, MVD ENTERTAINMENT]

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