Wrong Turn 4K 2003 Ultra HD 2160p

Chris has a job interview in Raleigh in three hours, and he is enjoying life in his newly purchased convertible Mustang... until he discovers a huge traffic jam ahead, threatening him with hours of waiting.

Determined to make it to the interview on time, Chris turns around and speeds back down the West Virginia highway. Soon, at a local gas station, he finds a map and decides to take a side road. Few people use this road, but for Chris, it's a real opportunity to bypass the traffic jam.
Nearby, Jessie and her friends—Carley with her boyfriend Scott and Evan with his girlfriend Francine—are in shock: their trip has ended with flat tires, and they are stuck in the middle of the woods.

The group quickly bands together and decides to find a phone. Evan and Francine stay with the cars, while the others set off down the road. As they venture deeper into the forest, the idea that this is someone's cruel joke becomes increasingly doubtful...

User Review

“Wrong Turn” is a film that I love very much and often rewatch, despite the fact that, rationally evaluating and comparing it with other films, I am ready to admit that there is nothing extraordinary about it. There is no original plot, no impressive special effects, no shocking moments — nothing that would make you say, “Wow!” Now I can't even call it a horror film — I watch it simply because I enjoy immersing myself in the story and reliving it. Not to watch the carnage, but to watch people in a dangerous situation, interesting, sensible, intelligent people who have gotten themselves into a mess and need to get out of it.

An analogy to “The Turning,” a dirtier and more violent version of it, is The Hills Have Eyes, but I watched The Hills once, and it doesn't have anything that my soul would gravitate towards, while The Turning is dear to me, like a painting that, in some incomprehensible way, calms me instead of instilling anxiety or fear.

People, that's what interests me in “The Turn.” A set of characters that may not seem remarkable at first glance, but who are infinitely dear to me. Not banal, vulgar schoolchildren who got drunk in the woods and were all drawn to strawberries, after which one of them, going behind a bush, got hit on the head with a machete, and off they went; but adults, intelligent, unique, and self-sufficient. After Ghost Ship, Harrington lost my trust for a while, but when I saw him in The Turning, I immediately believed that he was a good, smart man.

Eliza Dusku, Buffy's rival and a typical wildflower with tattoos and piercings, broke the established stereotype in the very first minutes of her appearance in “The Turning,” coming out of the forest with wire in her hands, and I saw before me a smart, successful, confident, and clean-cut girl.

The couple in love, Emmanuel Cricu and Jeremy Sisto, a guy and a girl who were about to get married, are also portrayed as quite respectable, decent young people, and it was easy to believe that they were bound by some kind of serious feeling. There was no stupidity, vulgarity, or baseness in these characters—none of them were born or raised under a fence, none of them climbed on top of anyone, none of them groped their girlfriend under her blouse, and none of them allowed themselves to have violent tantrums or use foul language. Although, a tendency to throw tantrums is a measure of emotionality, not intelligence.

In short, the men and women (not boys and girls) in this film are modest but charming. The dialogues between them may not sparkle with loud wit, but they fit perfectly into our everyday life, and the words and actions are logical and appropriate. The cars broke down, so they went to look for a phone. It's not because someone stretched barbed wire across the road, which made the kids mad, and they rushed into the dense deciduous forests of West Virginia to find their offenders and kick their asses — it's simply because there was no way to go further or turn back. And they stayed in the house of ghouls only because they didn't have time to leave, not because some stupid girl rushed to her friend lying on the table in the hope of reviving her. And it didn't matter that her friend's dead, glassy eyes clearly said, “I'm dead, get out of here!”

Everything seems simple in this story, and the relationships between people are understandable and uncomplicated, and their actions are predictable, but you know what's surprising? There is no nonsense in this film. There are no far-fetched excuses or idiotic situations. Like, for example, in House of Wax, when one of the characters, the main character's boyfriend, was killed in the maniac's house because the maniac couldn't wait to wash his hands. They were sitting in the car, together, relatively safe, but no, Wade, all sweaty and dirty, but neat and tidy at heart, got out of the car and went into a strange house to wash his hands. Not even to the bathroom. Be reasonable, man. Or are the screenwriters idiots?

And there is none of the frantic bustle, feverish whirlwind, and rush with which the characters in The Texas Chainsaw Massacre were killed: you don't have time to figure out who's who, who went where and why, before they're already chopped up or put on the wheel. That's it, you're out of the game, next move. “The Turn” is measured but dynamic, everything in it is well thought out and done competently. Without pathos, pretentiousness, and an abundance of trash and slash, it is clear, strict, and even.

People think quickly, act according to the situation, and losing any of them, considering that there were only four main characters to begin with, is incredibly sad. Of course, someone had to die, but The Turn is perhaps the only film of its kind in which I really wanted everyone to survive. There is something sweet, simple, yet beautiful about this story. Endless forests, deserted country roads, tattered photos of missing people torn from newspapers, a parking lot of wrecked, abandoned cars littered with children's toys, a sense of danger, and a lasting sense of amazement: “How can such ugliness exist in our civilized world?”

“How can they do this?” Carly was horrified.

“How do they get away with it?” Jessie, Dusha's heroine, wondered.

Two such similar, yet such different questions, revealing women of different temperaments and attitudes to life. Carley is emotional, impressionable, and childishly carefree. Jessie is practical, determined, and judicious. And the graveyard of abandoned cars, as well as the haphazardly scattered belongings of previous victims, is, in my opinion, an excellent directorial move that shows everything and nothing at the same time. The viewer's imagination fills in the pictures of previous killings, and there are noticeably more reasons to worry about the characters. We saw the same angle in Wolf Pit and a couple of other thematically similar films.

Conclusion: there are many films about the conflict between people and monsters in our time, but Wrong Turn is a special film for me, standing apart from its crooked comrades and twisted relatives. It is a benchmark, a perfect equation to which nothing can be added and nothing can be taken away. And this is not a youth horror film, it is an adult, conscious film that is a pleasure to watch.

Info Video

Codec: HEVC / H.265 (76.9 Mb/s)
Resolution: Native 4K (2160p)
HDR: HDR10
Aspect ratio: 1.78:1
Original aspect ratio: 1.85:1

Info Audio

#English: DTS-HD Master Audio 5.1 (48kHz, 16-bit)
#German: DTS-HD Master Audio 5.1 (48kHz, 16-bit)

Info Subtitles