OUR MOVIE REVIEW:

Inspired by true events perhaps, but writer/director Warren Skeels has clearly taken inspiration from classic horror movies. Although based on tragic abductions and murders that took place in Florida during the 1970s, cinematically, the mysterious man in the white van is elevated from a tabloid creepo into a Carpenter-esque boogeyman. The eponymous van growls like Christine. Its driver, a forward-marching force ala Michael Myers. The Man in the White Van possesses a well-polished overall look and is full of grade A performances, yet the complete production is a series of feints and set ups building to a non-ending that is as empty as the van’s cargo bay.

The main narrative is set in 1975. Teenaged Annie Williams (Madison Wolfe) loves boys, rock n’roll, and her horse Rebel. She’s a little awkward in her youth, especially when compared to her perfect older sister Margaret (Stargirl’s Brec Bassinger), but is comfortable in telling tall tales and stealing attention. When a white van begins following her, though, Annie’s traits muffle her warnings to her family. Until it’s nearly too late. And why would they listen? After all, this little pseudo-thriller happens around Halloween. 

Skeels builds the suspense. The opening scene with Victim #1 (Daredevil’s Deborah Ann Woll) sets a merciless tone of capture over escape and torture over freedom. Skeels goes on to break the narrative from time-to-time with another flashback killing. Most transpire out in the open. All the victims are skinny young women. DP Gareth Paul Cox captures the sunlight and sweat and, along with editor Billy Gaggins, transposes those glimmers of terror with darkly cast shadows. The presentation is contemporary and slick.

Yet looking deeper, The Man in the White Van is all movie theater play full of orchestrated staging, mediocre chase scenes, and a villain that leaves behind more open-ended frustration than criminal swagger. Skeels focuses significant time on Annie and her blossoming teenaged romance with Mark (Noah Lomax). So much so that the impetus of the movie often comes across as an afterthought instead of a tangible threat. Keeping the man faceless and nameless only possesses limited power. Even in Halloween, the Shape has ample time to be shaped. Not so much here.

Skeels, along with co-writer Sharon Cobb, seemingly want to build the horror as a contrast to the ongoing Williams family drama. The constant focus on Annie’s social growth, however,  prevents this duality. For a movie that boasts Sean Astin and Ali Larter as the familial leads, neither are given much to do. In fact, they remain as shapeless as the van’s driver. 

The Man in the White Van tries to accelerate but quickly becomes lost in genre traffic.