Bobcats by Matthew Weber

Matthew Weber’s Bobcats succeeds as a coming-of-age horror tale not altogether unlike Ketchum’s Hide and Seek and King’s IT. In fact, if one were to mix those two books together with a dash of the King novella, The Body, and just a smidge of Deliverance for flavor–as well as a touch of Friday the 13th–one might have a good starting point for the story that Weber’s put together.
Joey and his four compatriots in the Bobcats–a small fraternal outdoors troop not altogether unlike BSA–plan to hike The Gauntlet, a trail that weaves through the wilderness of Black Oak Mountain. The adventure is the boys’ plan to honor the legacy of Joey’s father, the foundation of The Bobcats, who recently died of cancer. More than that, it’s a rite of passage into manhood for the five adolescent boys.
As a powerful thunderstorm rolls into the area, the expedition becomes true to its name, becoming more a gauntlet than it already might have been. Sadly, nature is only the beginning of the challenges the boys face.
Black Oak Mountain is home to more than the expected wildlife, and for the Bobcats, it’s one of the inhabitants of that dark forest that changes their lives forever. The Cleaver soon has the five boys in his sights, and no amount of preparation and survival training could have adequately qualified the Bobcats to deal with an inhuman monster who makes his living slaughtering people for money with his cruel, handcrafted blades.
Weber does not shy away from the harsh reality of precisely how an encounter like this would turn out. Bobcats is not a feel-good story with a tidy, cheerful ending replete with plot armor and reliance on suspension of disbelief. To learn how it ends–or whom it ends–you’ll have to read it for yourself.
Matthew Weber deserves additional points for hinting at a history of mysterious occurrences on and near Black Oak Mountain without delving into them and erasing the mystery. It seems like a sequel could be in order, as there’s plenty more to fear in the night than solely The Cleaver.

Freaky (2020)

Freaky succeeds in being the perfect response to the Wheel of Fortune before-and-after puzzle, “Freaky Friday the 13th.” My personal favorite before-and-after remains my brother’s “Zyklon Bea Arthur,” but that would make for a far less interesting movie when you think about it. That’s neither here nor there.
If you enjoyed Happy Death Day, The Hunt, and other Blumhouse productions with a horror/comedy bent…there’s nothing disappointing about this one. A mousy, grieving high-school girl swaps bodies with a notorious local serial killer after he fails to kill her with an ancient sacrificial dagger. I mean, what could be wrong about that?
In a strange sense, it’s a coming-of-age tale about mourning and family…only with self-aware stereotypes and meta commentary on the usual slasher tropes. There are some interesting and gruesome kills throughout the movie, beginning with a play on my favorite kill from a slasher movie prior to this one, which was the wine bottle scene from Sorority Row (the 2009 remake of 1982’s House On Sorority Row).
Vince Vaugh was spectacular as both the killer and as the high-school girl trapped in an adult man’s body. Seriously, it’s the best performance I’ve seen from him. Kathryn Newton was pretty impressive as well, transitioning from being a virtually invisible teenage girl to being a bloodthirsty murderer in a young woman’s body.
As much as I enjoyed this one, I will say that it doesn’t tread any new ground and there’s nothing particularly surprising about it (beyond the quality of the performances and the graphic nature of some of the kills). It’s a fun movie for the sake of being a fun movie.