Rav1122 I was pleasantly surprised with this movie, I wasn't expecting much going in considering the low budget and only 2 focal characters. Especially with the synopsis "Couple travels to cabin in the woods, then weird stuff starts to happen!" This same concept has been done a million times, but THIS is one shining example of it done RIGHT.The acting is by far the most impressive aspect, the writers really set it up perfectly for us to get to know the couple and really care about them. It really feels like we are watching a couple that has been together for years. There's nothing worse than poor character development, when the action starts to happen you are not invested and don't care whether the characters live or die. Not here, both of the leads deliver stellar performances. Little clues and hints are sprinkled throughout that leaves you thinking the ending could go in one of countless directions, which is what a great mystery/thriller should do. Nothing is worse than knowing exactly how a movie will end before it even happens, and the writers did a great job at leaving the audience guessing until the very end. I have also noticed a trend with the 1 to 3 star reviews for this movies, almost always they are written with major spelling and/or grammar mistakes. Either they are written by people that are very young, or people that are just not intelligent enough to realize this is supposed to be a mystery/thriller and not a horror. One reviewer was disappointed in the lack of gore, did we watch the same movie? Did they not see the bathroom scene toward the end? Or the bedroom scene at the end? Overall this was a surprisingly well done movie with a perfect cast and team of writers/directors. As long as you go in knowing it is a mystery/thriller and not a horror you will be just fine.

thelastblogontheleft Honeymoon is director Leigh Janiak's feature film debut and you all know how much I love checking out works by female directors, especially when they wind up being as solid as this one is. The film almost exclusively follows Bea (Rose Leslie) and Paul (Harry Treadaway), a newlywed couple who head to Bea's family lakeside cabin in the woods for their honeymoon. They are enjoying their peaceful, serene break from the big city until Bea sleepwalks into the woods one night and comes back mysteriously changed, and not for the better…** SPOILERS! **As is common with films like this, it takes a bit to get to the action. In the moment, it felt like a bit much, but as the movie progressed, many of those details came into pretty crucial play — I was really pleased to see just how well-planned that was. I loved how subtle Bea's changes were at first. Paul finding her naked in the woods was jarring, to say the least — and he did a great job at conveying that mix of worry, disbelief, and absolute confusion that one would feel after experiencing such a thing. It's no surprise that he would be on high alert that night and the next day, making sure she truly was alright. But her shifts were initially slight enough that they really could have been from a lack of sleep and, as she says, the stress of the wedding catching up to her. Maybe a bit hard to swallow — forgetting to batter the french toast or to actually brew the coffee — but possible to dismiss as just a one-off odd moment.When they go back out in the rowboat and she spontaneously jumps into the water with her clothes on… so perfect. You see this complex expression cross her face — she's trying to be what she's supposed to be, what she's expected to be, and in that moment she knows that she has failed. She knows she has blown her cover, in a subtle way. But she's still hopeful for a moment that it worked.Ultimately, that was an aspect that I enjoyed — she didn't return from the woods having done a complete 180. I don't know if it was meant to be a metaphor for failing relationships/marriage in general, but it's a good one — losing yourself, perhaps to the horror of the person who loves you, despite trying to hold on, trying to shield the other person from your changes, trying to protect them even if it ultimately means killing them — figuratively, I hope — in the process.I also enjoyed the fact that oftentimes in these types of movie scenarios — where one person in a relationships turns out to be not at all what they seem — it's the man who becomes the changed person, who becomes violent or evil. But Janiak flipped that gender stereotype on its head with this one.I think one of the freakiest moments, for me, was when he comes back inside after finding her nightgown in the woods — ripped and inexplicably slimy — and he peeks into the bedroom to see her rehearsing lines in the mirror, practicing how to reject him when he tries to sleep with her. I can just only imagine the feeling of fear he must have had in that moment — fear without knowing fully why, even.The other was when he looks over her shoulder as she's writing in her journal and sees that she's writing down basic facts — "My name is Bea, my husband is Paul, we live in Brooklyn", etc. Again, such a rush of terror, both for himself and for her.I thought the inclusion of Will (Ben Huber), Bea's childhood friend, and his wife Annie (Hanna Brown) was a good one, if for no other reason than it ended up adding a sense of strange community to the situation. This wasn't an isolated incident for Bea. Annie was undergoing the same transformation, and Paul finding that out when he went back to the restaurant amped up the urgency to find out what the hell is going on.The final confrontation between Bea and Paul was intense. You can see how much Bea is searching, internally, for the right things to say. She recites her facts word-for-word, exactly as they appear in her journal (chilling). She mentions wanting to protect Paul. He tries their pet name on her — calling her "Honey Bea" and waiting for her response — and she replies "we don't remember" (ugh). He asks her how he proposed to her and the way she gets it wrong — telling the story as it should have been, not how it happened — was extra creepy, especially considering how proud she seemed to have correctly recited it.We get a touch of body horror here and there with Bea's "bug bites" worsening, her alarming bleeding (as Paul tells her he knows she isn't on her period), and eventually her coaxing him to pull a horrifying, serpent-like creature from between her legs as she writhes in pain. The gore was perfectly placed and efficient in its presentation — reminding us of just how much this is a physical transformation as well as a psychological one without being gratuitous.The ending was also pretty fantastic. We aren't 100% clear — or at least I'm not — if Bea's intention really was to hide Paul, that her human and alien instincts were just too merged at that point to realize what she was actually doing by tying him up and sending him over the edge of the boat. But her intentions seemed genuine. And the overlay of her earlier, hopelessly romantic quote to Paul —"Before I was alone and now I'm not" — was just perfect. Highly recommended!

climbingtiger957 Well it starts of newly weds in a cabin ,sex sex and more sex,at one point during a night of even more sex ,hubby wakes up and finds his bride in the woods looking like she's just had more sex.anyway not much else happens they try to have more sex but she is a freak who i presume had sex with an alien .sorry no plot no story yet !! She then has what looks likes a miscarriage ,hubby pulls half a ton of sausage meat out of her lady bits ,and she turns into an advert for skin cream ,there are no spoilers because there's nothing to spoil.i wouldn't recommend you eat your'e dinner while watching it because it's pretty gross ,literally another trash horror trying to shock with extreme scenes of roadkill popping out of body parts.to sum it up it's a pile of trash.

avik-basu1889 'Honeymoon' really reminded me of a few Roman Polanski films like 'Repulsion' and 'Rosemary's Baby'. 'Honeymoon' like most well made and thematically deep psychological horror films,tries to address real- life issues by using generic tropes and distinctive cinematic horror elements. In this case, very believable and tangible marital issues and concerns are addressed by director Leigh Janiak and her co-writer Phil Graziadei.One of the very important reasons why 'Honeymoon' works is because of the way Janiak takes her time to set up and convey the sweet and tender love between Bea and Paul. She uses a beautiful opening credits sequence of Bea and Paul giving talking head style interviews for their wedding video interspersed with shots of the road during their drive to the honeymoon spot symbolising the journey they have made together in life. There is an extended unbroken long take inside the cottage where Bea introduces the different rooms to Paul and it's a beautiful and sweet sequence again underlying the sweet nature of their relationship. It's only because we believe the love between them, that we feel uneasy when things start falling apart. There is a connection between 'Honeymoon' and Polanski's 'Repulsion' in the way that both Bea and Paul start becoming more and more paranoid upon realising that they might not be completely ready for every concern and expectation that comes along with marital life which is similar to Carole's paranoia in 'Repulsion' which was borne out of her inability to cope with adulthood, sexuality and the male gaze because she was still a young child at heart and the mental disintegration takes place in somewhat of a similar fashion in both these films. The paranoia forces both Bea and Paul to change and neither of them like the changed new individuals that the other becomes on this post-marriage honeymoon trip. But 'Honeymoon' also shares a connection with Andrzej Żuławski's 'Possession' in the way it externalises marital problems in very visceral and visually disturbing ways.We have two Brits - a Scottish woman(Rose Leslie) and an Englishman(Harry Treadaway) pretending to be an American couple, but they are really good and made me believe their marriage, their love, their mutual concerns and their subsequent paranoia.Leigh Janiak gets good performances out of her actors and also elevates the film with her intricate visual storytelling choices. The hand held camera helps to add to the intimacy of the relationship between Bea and Paul. This is a solid piece of work where the director makes the most out of limited resources available to her due to the low budget.