Though it has become ubiquitous enough to feel like it’s always existed, self-awareness in film is a relatively fresh condition. Fourth wall breaking, references to other cinema, genre devices, overly archetyped characters; all are commonly used techniques to create self-referential “meta” films. And whether they’re built as an over-the-top spoof, a genre-clipping throwback, or a glorifying homage, these films take advantage of an audience’s pre-existing cinematic knowledge so we can all simply get to the point. The Cabin in the Woods is, perhaps, the most ingeniously-executed example of this trend; winking its way towards an almost assured cult film status. And while my list of superlatives could go from floor to ceiling, what I most admire about The Cabin in the Woods is the fact that, in trying to describe it, I can’t really say anything at all. Because–and here’s the catch–saying anything about it might just ruin everything about it.