Should we accept the common virtue of safety? Or, sometimes in the future when cars become self-regulated, will we--too stubborn to lose the thrill--reject the disappearance of the human element?
Pushing toward that thrill is at the axis of "Rush," Ron Howard’s superb film about Formula 1 racing of the seventies. At the end of the push, Peter Morgan’s
Smart horror–is that an oxymoron? Not in “The Cabin in the Woods,” a devilishly twisted film written by Joss Whedon, maker of beloved TV series “Buffy” and “Firefly.” Whedon starts with a generic plot premise that has been hackneyed to death: youth in the woods, getting feisty inside and out a cabin, and then getting killed.
Luckily, Whedon torques this premise and pushes into unfa-