Nowadays, there’s an undoubtable inevitability with horror films. By creating something fun and violent will spawn something of the known sequel – or three. Paranormal Activity and the Saw franchise are to name but a few, tarnishing what the original was able to elaborately create. By no means was Wrong Turn, starring Buffy the Vampire Slayer’s Eliza Dushku, a modern horror classic, but it was intense, well paced and packed a punch or two with cringe-worthy gore. Three sequels later and we have Wrong Turn 4: Bloody Beginnings.

An outlandish group of American friends decide to go on a snowmobiling holiday when, shock, they take a wrong turn. Stranded in a snowstorm they take refuge in a nearby, seemingly abandoned mental institute for the completely deranged. What lays within the dank, dark walls of the institute are three patients who, years previous, escaped and doomed the building, hurtling all its inhabitants into a whirlwind of blood and sheer chaos. The group must fight for survival as the bloodthirsty, cannibalistic trio have adapted to their surroundings all too well.

Starring a ton of unknowns, a scenery change for the Wrong Turn franchise detours back to the beginning of Three Finger, Saw Tooth and One Eye as the demented brothers go from adolescence to fully-fledged psychos, sporting a dozen glorious methods of bloodshed, taken from the unsuspecting, inebriated teens who’ve trudged on their turf.

You know the story; there technically isn’t one. At this point the Wrong Turn franchise is just like Saw, an excuse to create cringe-worthy, squirm-inducing death scenes. With that in mind, it works stupendously. The gore is a go-go from the opening scene, barbed wire, snowmobile, garden tool and axe in hand, and lets not forget that boiling pot; these guys are starving. Director and writer (of the third entry, Left for Dead) Declan O’Brien epically pushes the boundaries – this guy has seen a horror film or two, and his imagination is out there. Sure, it’s entertaining, but hot damn does it never pass the border of sheer imagination.

That’s really all this fourth Turn has going for it, however. The characters are ranged, but in the most unsettling way. We have the unpredictable intellectual, a rack of moany bints, a pair of lesbians, a fringe-flicking Princess and a wailing, tank-top wearing turd. Laughable, really. A scene, in specific, involving said tank-top wearing douche as his girlfriend’s dismembered body, oozing blood, drops, leaving his quaking body in utter shock, but instead merely screams, and screams, and screams, and screams. Like a pussy. Hilarious!

So other than the unfortunate effect of O’Brien’s involvement in the franchise giving us a fifth sometime soon, Wrong Turn 4 certainly is an improvement of the dire third, but still, without a drink in your hand, it’s a wasted effort.