The Autopsy of Jane Doe might be the perfect horror movie of 2016. It takes every trope and reference that we, the horror-loving audience are so familiar with, and delivers it in a familiar yet refreshing and terrifying way. In fact, it’s Autopsy’s simplicity and familiarity that makes it so enjoyable. Everything that’s on display here, we’ve seen a hundred times before: people appearing in mirrors, slamming doors, fucking cat jump scares. The difference between Autopsy and all the other horror flicks that have come out recently and have tried to pull the same tricks is that Autopsy inexplicably, absolutely nails it. In terms of delivering information alongside terrifying visuals, it gets everything right that you’re supposed to get right. It’s got jumps, it’s spookily atmospheric, it’s bloody, it’s gruesome, and most importantly, it’s genuinely scary. I really can’t say enough good things about it.
One of my big hang-ups with a lot of newer independent horror cinema is the way the filmmakers present their influences and references to the audience. Directors paying homage to the creators who came before them and impacted their works is nothing new (John Carpenter’s biggest inspiration, director Howard Hawkes, had a screenwriting partner named Leigh Bracket), but it seems the art of subtlety has been lost on a few from the new generation. At times it feels as if the visual cues and nostalgic references were decided first and the film was fashioned around them – rather then the other way around, as it should be. In a way, I totally get it: if I was an excited, young filmmaker, I’m sure the first thing I’d wanna do is just paste obvious references all the place, too. But as a viewer, it’s more distracting than anything. Look, I expect horror films to have nods and references and allusions to other works – that’s part of what makes the genre so fun. But it requires a little finesse, that’s all I’m saying. Done right, even the most tired, overwrought tropes can feel fresh again.
And as I watched The Autopsy of Jane Doe this week, I couldn’t help but find myself repeating the same internal thought every few scenes: Yes. This is how you do it.
Now, the first few scenes of Autopsy don’t promise much – initially it comes across as any run-of-the-mill modern indie horror: the film opens in media res, detectives investigating a head-scratcher of a multiple homicide (involving our titular Jane), and before the viewer can shift in their seat, there’s a few quick scenes of clunky exposition and it’s off the morgue where our two leads are to carry the remaining 90 minutes of the movie. But this is where the mediocrity ends. From the moment we’re in the lower berths of the creaky, cold bone-house, it’s pure, refreshing tingly terror.
The perfectly-paced scares are anchored by our charming and engaging leads: Brian Cox and Emilie Hirsch play the father and son coroner team, and they deserve heaps of credit for keeping the film watchable. Two actors on a single set — that’s pretty much a stage play. And those types of situations – unless guided by talented, enthusiastic performers – can become boring quick. But not here — Autopsy glides along in Cox and Hirsch’s capable hands. And I’d be remiss if I didn’t mention “Jane” herself, Olwen Catherine Kelly. Yes, she lays there naked and dead for the entire movie, but that’s exactly why she deserves so much credit. It’s weird to say, but she makes a great corpse.
I loved The Autopsy of Jane Doe. It was invigorating, and it excited me. I was excited because all those ancient tenants of horror — don’t show to much, don’t explain too much, just scare the bejesus outta the audience — those archaic, bygone methods are fully employed here, and to great success! It just goes to show that filmmakers needn’t stray from the familiar horror formulas. They just need to stick the damn landing.
