Set in 1970’s Florida, The Man in the White Van dramatizes the crimes of serial killer Billy Mansfield and his reign of terror in an otherwise idyllic setting. However, this film isn’t interested in focusing on Mansfield or his murder of five women and girls. Instead, the film flips the narrative and we follow the fictional account of one of Mansfield’s early victims. This is the first feature from writer-director Warren Skeels and we hope to see more. Skeels certainly has a solid grasp on narrative, but can’t resist the urge to pull some stylistic stunts. The thriller admirably chooses to contextualize and humanize the victim’s point of view, but is bogged down by unnecessary flash-forward scenes that add little to the overall film.

The movie opens in 1974. Annie (Madison Wolfe) is a free-spirited teen living her best life in rural Florida. At the dinner table, she recounts a tall tale of facing down a rattlesnake after being thrown from her horse. Older sister Margaret (Brec Bassinger) and younger brother Daniel (Gavin Warren) roll their eyes while Mom (Ali Larter) and Dad (Sean Astin) wince at the story. Dynamics are established here with Margeret being the older, more conforming sister and Annie being the rugged rebel. Soon enough, a white van begins making passes through the town like a shark in search of prey. Annie initially ignores these moments as she is too distracted by Mark (Noah Lomax), the new boy at school. It isn’t until the van begins to prowl Annie and her friend Patty (Skai Jackson) on their walk home from school that things become serious. Of course, when she tries to explain things to her family, they dismiss her as the girl who cries “VAN!”

The influences are apparent here as writers Sharon Y. Cobb and Skeels pay homage to classic horror films from the era. We get notes of Hillside Strangler and Halloween as the ivory conversion van ominously appears at every pregnant pause. That’s not to mention the Cundyesque photography by Gareth Paul Cox who uses a wide aspect ratio and tasteful lens flares to great effect. I would be remiss if I didn’t mention the solid production design by John Rusnak and Lauren Spalding along with Kurt Knight‘s reserved early-70s art direction.  Another high note is the performances from Wolfe as Annie and Bassinger as her goody-goody sister Margaret. They are fun to watch on their own merits but when the two actors share a scene, they are magic. The chemistry between the two is a joy to watch.

If The Man in the White Van had resisted the temptation to jump around in time, it might have been more successful in telling its story. Instead, we have a worthy attempt at foreshadowing that mucks things up. That said, this is an engrossing thriller that holds a tight grip on the audience.

7 Out of 10