Camping trips rarely seem to end well in the movies, and
Australian bushland-set Killing Ground
provides a double-dose of cautionary tales. When couple Sam (Harriet Dyer) and
Ian (Ian Meadows) arrive at their campground beside an idyllic, heavily
forested river, the presence of another car and tent raises concerns about
interlopers ruining their romantic New Year’s getaway. In alternating scenes we
learn that the tent belongs to the Bakers, a family of four who arrived a few
days earlier. Meanwhile, back in town unsavory locals “German” (Aaron Pedersen)
and “Chook” (Aaron Glenane) troll for victims of their unspecified criminal
urges. As the Baker family—including a daughter, Em (Tiarnie Coupland), and
infant son, Ollie—remains absent into the new year, Sam feels unsettled enough
to convince Ian they should return to town for help. When Ollie stumbles out of
the woods as they’re packing, the three seemingly disparate threads knot
together into the expected survivalist horror melee.
The inevitable doom of city dwellers in the wilderness has
been plumbed to great depths by films like The
Hills Have Eyes, Eden Lake, Wolf Creek, and Deliverance. (There is even a sly reference to the last in a crossword
clue left unsolved by Sam: “salvation, 11 letters”.) Writer/director Damien
Power’s script leans on several clichés made infamous by its predecessors; a
lack of cell service, spooky backstory to the rural locale, and flat tires all
make an appearance. We’re not left wondering if something terrible will happen, but rather just how awful the inevitable carnage will be and, in this regard
at least, Killing Ground manages to
distinguish itself from countless, boring genre retreads.
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| Harriet Dyer as Sam in Killing Ground |
Rather than following a Psycho-esque
structure, where partway through the film one group of protagonists is
dispatched to make way for the second, the two storylines unfold alongside one
another. Power nimbly sidesteps a well-worn schema while reaping the benefits
of a persistent, background hum of dread in both plots. Compared to its more graphic
cousin Wolf Creek, Killing Ground comes across as an
exercise in restraint. Much, but not all, of the violence takes place at a
distance from the camera or just off frame; some of the most brutal acts aren’t
shown at all. This decision to leave much to the viewer’s imagination works to
enhance what would otherwise become a gory paint-by-numbers exercise.
Mr. Pedersen and Mr. Glenane are suitably sleazy as the two
local killers, although we’re not given a clear reason as to why they’ve turned
into such awful people. Among the victims, Ms. Coupland particularly stands out
with an appealing mix of pluckiness and intelligence. At the other end of the
spectrum lies Mr. Meadows’ Ian, who continues the long and unimpressive lineage
of useless male protectors in life or death scenarios.
The surrounding terrain is key to any wilderness survival
tale, and so the Australian bush is worthy of mention here. Effectively
captured by cinematographer Simon Chapman, the woods through which characters
stumble and hide feature as an uncredited supporting cast member. While there
are few surprises in store for genre enthusiasts, the confident and restrained
direction in Killing Ground elevates
a predictable script into a watchable thriller.
RATING: ★★
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