Rating: PG-13
Stars: Madison Wolfe, Brec Bassinger, Ali Larter, Sean Astin, Skai Jackson, Gavin Warren, Addison Riecke, Noah Lomax, Darrius Thomas, Deborah Ann Woll
Writers: Warren Skeels & Sharon Y. Cobb
Director: Warren Skeels
Distributor: Relativity Media
Release Date: December 13, 2024
Because it is seen primarily from the viewpoint of high school student Annie (Madison Wolfe), and because of some narrative conventions, THE MAN IN THE WHITE VAN has a YA flavor to it. Still, director Warren Skeels and his co-writer Sharon Y. Cobb deliver a relatively suspenseful thriller.
An onscreen title at the start tells us that THE MAN IN THE WHITE VAN is “based on true events in Florida.” As it is set in Hernando County, a quick Google search turns up the specific case of serial killer Billy Mansfield, who goes unnamed here. Also, while Mansfield was active from 1975 through 1980, the movie starts in 1970, then jumps forward to 1975, when the majority of the action takes place (there are quick flashbacks to the killer’s activities between 1971 and 1974).
Annie considers herself a rebel – that’s even what she’s named her horse – and within the context of her extremely conventional upper-middle-class family, she is, comparatively speaking. Father William (Sean Astin) is in the land business. Mother Helen (Ali Larter), often addressed by her children as “Ma’am,” is a proud homemaker. Older sister Margaret (Brec Bassinger), also in high school, looks forward to her debut as a debutante. Little brother Daniel (Gavin Warren) wants an opportunity to protect the homestead with a BB gun.
So, what makes Annie such a rebel? She’d rather be out riding than inside sewing and doesn’t see why she (or anyone else) needs to dress up for church. Most of all, though, Annie has a tendency to exaggerate. In the real world, this would make Annie simply a relatively normal teen, but again, THE MAN IN THE WHITE VAN has a period YA ambience, so she’s depicted as unusual.
When Annie starts to notice a white van following her around, because of her fondness for tall tales, her parents and Margaret don’t believe her.
It must be said that the screenplay by Skeels & Cobb elicits a lot of questions, starting with why these relatively strict parents, living in the general vicinity of an active serial killer, don’t have any concerns whatsoever about Annie’s reports. On a more minor note, while there is obviously a need to establish that there are guns in the house, little Daniel’s obsession with them keeps us wondering if there’s going to be an accidental home shooting (spoiler alert: there isn’t).
Then there is the behavior of the killer. In what we see of his other murders, his stalking is brief if it happens at all – he grabs women and girls who are outside on their own when he spots them from his van. However, with Annie, not only does the van turn up many times – including on her parents’ property – he actually smokes a cigarette on the lawn, virtually announcing his intentions.
Finally, there’s a scene between the killer and an associate that suggests we’re going to learn more about motives and methodology, but nothing about the sequence is addressed again.
Still, once Annie is by herself (despite her best efforts not to be), THE MAN IN THE WHITE VAN revs up like the title vehicle itself, which has an ominously loud motor that functions like the theme from JAWS. Speaking of menacing sounds, this film may be the first to pick up on the threatening sonic potential of the intro of the Partridge Family’s “I Think I Love You.”
Wolfe is personable and committed, Bassinger nails the ‘70s vibe, and Skai Jackson is likable and credible as Annie’s best friend Patty.
There is a lot of information in the end credits about the National Center for Missing and Exploited Children. If all this mention does it make viewers take their children’s reports of stranger danger more seriously, it’s still worthwhile.
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