Slender Man (2018) – Film Review

Releasing years after the internet icon had long since passed his popularity, the first mainstream film for the supernatural entity: ‘Slender Man,’ was released to little praise from critics and audiences alike in 2018, not only due to the film’s abysmal quality, but also as a result of the negative publicity surrounding the ‘Creepypasta’ creation following the attempted murder of a twelve-year-old Wisconsin girl in 2014, which was supposedly catalysed by the urban legend. The negative reception to the character got so severe that production companies Sony and Screen Gems were reportedly nervous about releasing the film, sequentially leading the companies to release the occult horror with hardly any promotion and no critic screenings. And yet, despite having all that backstory, the actual film is nothing but forgettable, as ‘Slender Man’ sands away virtually all of the mystery and subtlety that made the character so intriguing, to begin with.

Plot Summary: In a small town in Massachusetts, a group of teenage friends, fascinated by the internet lore of the ‘Slender Man,’ attempt to disprove his existence by summoning him with an online ritual. But, one week later, after a member of their group mysteriously disappears, the teens begin to realise that the urban legend of the ‘Slender Man’ is all too real…

Directed by Sylvain White (Stomp the Yard, The Losers, The Mark of the Angels – Miserere), ‘Slender Man’ himself first appeared on the ‘Something Awful’ forums in 2009, emerging in a series of photographs edited to depict a tall, humanoid entity unnoticed by others but almost always surrounded by, or near, children. Since then, many have speculated regarding the origins of the internet icon, the earliest reference to a similar creature being in ‘Der GroƟmann,’ a German folk tale written in 1702. But, of course, none of this captivating history was used for the film. Instead, ‘Slender Man’ simply just ignores all of the character’s rich history from the ‘Marble Hornets’ web series, the fan-made video-games and the bottomless trove of fan-fiction, in favour of telling a formulaic and derivative story surrounding a group of teens watching an ‘ominous’ video online before then vanishing one-by-one.

Naturally, this issue could’ve been concealed with a strong cast, but while Julia Goldani Telles, Joey King, Jaz Sinclair and Annalise Basso try to make their presence felt, especially King as ‘Wren,’ a soulful waif in a punk choker, and Sinclair as ‘Chloe,’ who beams with life until she watches in unflinching horror as ‘Slender Man’ records himself entering her house. The teens are so poorly defined that they’re practically interchangeable, so when ‘Slender Man’ starts abducting them, you may not even realise that any of them are gone. And even though the teens do try to protect each other, it’s obviously to no avail, and means nothing to the audience as they are entirely disposable protagonists.

The film’s cinematography by Luca Del Puppo, fortunately, fairs a little better, as the camerawork allows for a reasonable amount of attractive shots, particularly in the first act. Nevertheless, this is soon spoilt by the film’s atrocious colour palette, as there isn’t a single shot throughout the film not drenched in drab blues and greys. By that same token, even though I strongly subscribe to the idea that darkness perfectly lends itself to the horror genre, shots in ‘Slender Man’ are often layered with so many coats of black that it becomes almost impossible to tell what’s occurring in some scenes, which is only made worse by the film’s dreadful CG effects, repeatedly uninteresting set-pieces and collection of deafening jump-scares.

Surprisingly composed by Brandon Campbell and Ramin Djawadi, the original score for: ‘Slender Man’ does manage to be far eerier than the visuals through its heavy use of string instruments, creating as daunting of an atmosphere as it can through tracks like ‘Him’ and ‘Library.’ The sound design also effectively adds to the film’s soundscape with thundering cicada buzzing and woodland ambience, both of which are efficacious even if repetitive.

Considering that ‘Slender Man’ is infamous for tragically invoking an attempted murder, in addition to being blamed for many suicides. It’s almost inconceivable that a high-risk film such as this could also be so inaccurate when it comes to the character it’s based upon, as the mythology for this incarnation of the character almost seems to be fabricated on the fly, as ‘Slender Man’ is given multiple abilities he was never known to have had previously, such as mind control, world manipulation and more.

In summary, the inherent creepiness of: ‘Slender Man’ never comes across in this cinematic interpretation, which despite having a runtime of only ninety-one-minutes, feels as if it lingers on for over three hours. Having said that, it’s not as if more resources would’ve improved the film, as the main fault of: ‘Slender Man’ lies within its portrayal of the titular character, as the story ultimately loses sight of what made the internet icon so unnerving in the first place; the trepidation in what you don’t see him do. And, as a result, the film gives you plenty of reasons to put your hands over your eyes, but almost no incentive to peek through your fingers. Final Rating: high 2/10.

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