[Review] Southbound is a Thrilling Journey into Hell
I have to admit that I was feeling a lot of conflicting emotions when I started up “Southbound.” The premise got my interest and the trailer was very promising, but this was from the same people who brought us “V/H/S/” and “V/H/S 2.” Both were rather divisive films and I, unfortunately, fell into the camp that didn’t enjoy them. So would history repeat itself with “Southbound” or would this be the one to finally win me over?
Like it’s predecessor “Southbound” is a horror anthology film. However, unlike “V/H/S”, this film ditches the found footage angle in favor of a more traditional film style. And that, right off the bat, is a huge blessing as I thought “V/H/S” sticking so rigorously to found footage limited the film in ways that put a strain on the various narratives. Certain segments in “V/H/S 2” barely felt like they were sticking to the formula, so it’s good to see that they’ve freed themselves of those shackles.
In “Southbound” we get five very distinct segments that are somehow intimately connected with one another. Each segment follows a character as they journey into a surreal isolated town and encounter its strange inhabitants. As you might guess the overarching narrative of “Southbound” is tied into the concept of Hell and what we perceive Hell to be. Maybe you subscribe to the idea that Hell is a cavernous pit with lava and demons with pitchforks, but in “Southbound” we see that Hell offers a more personalized experience with each person encountering something that was finely tuned for them.
In a lot of ways it reminded me of “Dante’s Inferno” and it’s depiction of Hell. There you have different layers of the underworld with each layer representing a level of punishment for different sins. “Southbound” isn’t structured that way, but the idea of being punished in a specific way for a specific sin feels similar.
I’ll quickly break down each segment so you can get an idea of what’s in store for you:
“The Way Out” is directed by horror group Radio Silence and serves as an introduction to the world of “Southbound.” It throws you right into the mix of things and you’re left with more questions than answers, but it’s a purposeful decision that’s designed to pull you into the story. It serves as an excellent appetizer that leaves you hungry for more.
“Sirens” comes by way of first time director Roxanne Benjamin. In this one we meet a trio of performers who are on their way to a new venue when their car breaks down. They’re soon picked up by a seemingly nice couple, only to discover that their rescuers are not what they seem. Roxanne does an excellent job crafting a narrative that feels like a throwback to ’70s satanic films. It also features one of the best connections to the other segments. This one definitely takes the momentum established by “The Way Out” and runs with it.
“Accident” is directed by David Bruckner and is by far my favorite segment of the film. In this one a man accidentally hits a woman and attempts to save her life with the aid of a mysterious stranger on the phone. It’s gut wrenching and left me feeling sickened as things take a dire and gruesome turn. It’s possibly the most hellish experience in the whole movie.
“Jailbreak” marks Patrick Horvath’s contribution to the film. This one is an interesting mix bag as it does a lot to explain some of the stuff going on in the world of “Southbound”, but it features a weaker storyline. In this one a man is attempting to rescue his long lost sister from the town. It’s still a solid segment and does a lot for the movie as a whole, but on it’s own it feels like the weakest of the five shorts as it tries to cram so much into such a short amount of time.
Radio Silence returns for the final segment, “The Way In”, and ensures that the film ends on the same strong note that it came in on. In this segment we get a home invasion thriller that reminded me of “You’re Next” in terms of style and execution. There’s an old classic song playing in the background as a well-off white family is quickly and brutally attacked. Certainly that could describe any number of modern home invasion films, but in the moment it truly felt inspired by “You’re Next.” Overall it’s a very tight and well crafted short that brings the film to a natural conclusion while being it’s own strong story.
“Southbound” is a dramatic improvement over the “V/H/S” series and proves to be a remarkable anthology film. Whereas I felt that the “V/H/S” series had one or two good segments, “Southbound” is a quality product throughout. It’s a well acted, beautifully shot, and cohesive journey into a hellish landscape of nightmares and agony. If you’re eager for a new anthology film, be sure to give this one a try.
“Southbound” hits select theaters on February 5th and VOD on February 9th.
