The Ranger

The Ranger (2018): A Punk Horror Revival with a Brutal Twist

The Ranger (2018), directed by Jenn Wexler, is a gritty and stylish blend of punk subculture and classic slasher horror. As Wexler’s directorial debut and the first narrative feature produced by Glass Eye Pix’s all-female team at the time, the film stands out not only for its blood-soaked thrills but also for its subversive perspective. With its mix of 1980s horror homage, modern punk aesthetic, and sharp social commentary, The Ranger delivers a fast-paced, brutal, and thought-provoking experience.

The story follows Chelsea (Chloë Levine), a punk rock teen haunted by a childhood trauma connected to her late uncle and an enigmatic forest ranger. When Chelsea and her group of rebellious friends—fleeing a violent encounter with the police—decide to hide out in her deceased uncle’s abandoned cabin in a remote national park, their getaway quickly descends into chaos. The group’s anarchic lifestyle clashes with the order-obsessed Ranger (Jeremy Holm), a mysterious and deeply disturbed man who begins enforcing his own deadly interpretation of park regulations.

At its core, The Ranger is both a slasher and a psychological thriller. What sets it apart from conventional horror fare is its punk energy and thematic exploration of authority, trauma, and identity. Chelsea, caught between the aggressive independence of her punk friends and the repressive rigidity of the Ranger, becomes a compelling protagonist. Her character arc—moving from passive rebellion to active resistance—gives the film an emotional depth beyond its gore and shocks.

Chloë Levine shines in the lead role, portraying Chelsea with a balance of vulnerability and strength. Jeremy Holm is chilling as the titular Ranger, delivering a performance that is equal parts terrifying and darkly comic. His calm demeanor, obsessive love for nature, and strict adherence to rules make him a unique and memorable villain in the slasher genre. His bizarre fixation on Chelsea and her past adds a disturbing psychological layer to the narrative.

Visually, the film is a treat for fans of punk and horror alike. The neon lighting, DIY wardrobe, and chaotic energy of the punk world contrast starkly with the eerie stillness of the forest. The cinematography by James Siewert captures both the grungy cityscape and the isolating wilderness with equal flair. The soundtrack, packed with punk rock tracks, pulsates throughout the film, reinforcing its rebellious spirit and kinetic momentum.

The violence in The Ranger is graphic and stylized, featuring practical effects that recall the blood-soaked classics of the 1980s. Yet, it never feels gratuitous; each kill is laced with commentary on power, rules, and punishment. Wexler uses the slasher formula not just for scares but to critique the tensions between order and freedom, and the dangers of unchecked authority.

In conclusion, The Ranger is a refreshing and fierce entry in the indie horror scene. With its strong female lead, nostalgic yet original tone, and underlying social themes, the film offers more than just a body count. It’s a punk-fueled scream against control, a slasher with soul, and a clear statement that Jenn Wexler is a director to watch.