Simplicity reigns supreme in horror, mainly because when something feels real and believable to viewers, it holds the power to truly frighten them. Such is certainly the case in The Man in the White Van, the feature debut of Warren Skeels, co-written by his collaborator, Sharon Y. Cobb. Inspired by the chilling true story of serial killer Billy Mansfield Jr., this horror/thriller overflows with suspenseful moments and gripping chase sequences. Following the facts are not important— it is not as if we are watching a documentary here. As pure pulpy true crime entertainment, The Man in the White Van travels to 70s Florida for a disturbing, potent dose of creepiness.
Skeels takes us back to 1970 for an opening scene in which the very first victim gets nabbed by the titular man in the white van. The onscreen depiction of said serial killer focuses on shadow, reinforcing that nothing scares more than one’s own imagination. By portraying him in this way, the man becomes almost mythical, akin to a Michael Myers in the original Halloween. The omnipresent white van lurks around every corner, housing secrets, and a fate far too awful to even think about. By using him only sparingly, Skeels molds this killer into a force to be reckoned with. He does not speak, nor do we ever see a full close-up of his face. We fear the driver of the van before we even meet our proper cast of characters.
After the opener, the film fleets back in forth in time; adventurous teen Annie (Madison Wolfe, Malignant, The Conjuring 2) leads the action in 1975, whilst over the years, we revisit the man and his van as they claim their next victim. Annie’s family, especially her mother (Ali Larter, Final Destination, House on Haunted Hill), is deeply religious, and her older sister, Margaret (Brec Bassinger, VC Andrews’ Dawn, 47 Meters Down: Uncaged), wants nothing to do with babysitting Annie. Annie’s mom thinks her rebellious nature may come from new horse Rebel. Have they spoiled Annie so badly that she has forgotten how to act? Hilariously enough, many of Annie’s tomboy behaviors have become commonplace in the modern world. Even the way kids interact at school feels classic, untainted by the oppressive modernity of the teenage experience of today’s youth.
When a white van begins following Annie around, she immediately notices it, but no one seems to take her seriously. Her close friend, Patty (Skai Jackson), at least manages to toss a rock at the vehicle, and at one point, Annie’s younger brother (Gavin Warren, Night Swim, A Hard Problem) pulls a bebe gun threateningly. The layer of ick slathers on thicker as we witness this horrible person maim, murder, and rape his way across the years leading up to an encounter with Annie. Does she actually stand a chance against this monster? Movies such as Megan is Missing and The Black Phone have strayed into similar child endangerment territory. While this entry neither shocks as much as the former or provides crowd-pleasing moments of entertainment like the latter, The Man in the White Van drives its own vehicle of insanity.
The Partridge Family’s “I Think I Love You” has not been used this effectively in a horror context since 1997’s Scream 2. The tune recurs, perfectly adding to the eerie atmosphere. Building towards an effective climax, Skeels pulls out every tool in the toolbox. I was thrilled that the chase sequence, an underrated horror genre staple, goes on for quite some time. The entire final act of the film chugs along at a breakneck speed perfectly choreographed for maximum tension. As if its implications are not enough, an ending liable to give nightmares slides in as a sort of afterward, just for good measure. With heavyweights Ali Larter and Sean Astin as the parents, Madison Wolfe still ends up the undeniable breakout star. The audience roots for Annie on every step of her journey. A harrowing story of survival and unspeakable acts of cruelty, The Man in the White Van tells one true tale worthy of recognizing.
The Man in the White Van screened at 2024’s Sarasota Film Festival.
