Just on a basic conceptual level, The Forest was going to be a problematic film for its use of a
clichéd white woman stock horror protagonist in a foreign setting based upon a
real-world epidemic. The titular forest
is Aokigahara, a destination in Japan for the suicidal to kill themselves
anonymously and presumably without shame to their families. This is still a major problem in Japan, so
the choice to use the location as the setting for a horror film is
particularly tasteless, never mind the blatant appropriation of
Japanese culture in order to titillate American shock-horror
sensibilities. But even assuming that
the problematic aspects of the premise didn’t already work against the film’s
success, The Forest is dead on arrival anyway as a shoddy piece of film-making.
Natalie Dormer (of Game
of Thrones fame) plays Sara, a woman in search of her lost twin sister who
was last seen entering Aokigahara. Sara
travels to Japan and starts to investigate when she meets Aiden, a reporter who
claims to be able to help guide her through the forest. Despite warnings that the forest causes
hallucinations and that ghostly apparitions reside there, Sara sets out to find
her sister anyway.
What could have made this film at least a bit more tolerable
would have been more of an emphasis on the uniquely Japanese aspects of the
terrain. References to Japanese
mythology and the role that ghosts play in Japanese popular culture would have
been welcome to at least justify the presence of an American outsider character
in this remote location. However, the
forest functions much as any other forest in any other horror film, haunted by
creatures that aren’t even mildly shocking or scary to behold. This is exactly the kind of horror film on
autopilot that was responsible for the collapse in quality the horror genre sustained
in the early 2000s, and here we are again, revisiting the same pool of tropes.
But the worst aspect of this film is Dormer’s
portrayal of Sara, or rather her lack of any.
Sara is an immediately unlikeable character, from her unwillingness to
try to communicate with locals in anything but English to her constantly angry
and bitter attitude. Unlikeable
characters can still be interesting with an appropriate amount of depth or
reason for their unsavoriness, but Dormer’s Sara has none, which is likely much
more the director's and screenwriter’s faults than Dormer’s. As the film portrays Sara, she’s a dull
entitled American stumbling through Japan as if searching for her lost sister
is an inconvenience rather than a matter of life and death, and we’re supposed
to relate to that. Even audience members who
actually behave in real life as Sara does in the film couldn’t have the self-awareness to think of her
as a relatable human being.
So yes, The Forest
is confirmed horrible as its premise seemed to dictate. It isn’t surprising that those involved in
the production of such an obviously tone-deaf story would not have the talent
to even make the film moderately entertaining.
It’s a slow slog of a film that seems to pretend at being a character
study for a character that barely qualifies as one-dimensional, and the horror
elements are token and lazy. But the
greatest sin of all is still the exploitation of a real-world suicide epidemic
as the basis for a ghost story. How
tasteless.
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