The latest instalment looks at visual references from Season 6 ("Roanoke") of American Horror Story.
[The Twisted Parallels of Cinema] Edition #11: American Horror Story (Vol. III)
Tagged Cannibal Holocaust
BASKIN: Take a Ride to the Heart of Hell
Can Evrenol gives us a Turkish horror film worthy of greatness in BASKIN, as a group of police officers inadvertently follow a call into Hell.
Paranormal Activity’s Modern Hauntings
Paranormal Activity. 2007. Directed & Written by Oren Peli.
Starring Katie Featherston, Micah Sloat, Mark Fredrichs, Amber Armstrong, and Ashley Palmer. Solana Films/Blumhouse Productions.
Rated 14A. 86 minutes.
Horror
★★★★
When done correctly, I am a huge fan of found footage. Whether it’s using the thriller style, as I recently enjoyed in the film 419, or horror (The Blair Witch Project, Cannibal Holocaust, Home Movie, and many more), I believe that if a director uses the sub-genre appropriately then it can be extremely effective. Particularly, horror movies using found footage can end up having a huge impact if it isn’t simply a gimmick, or a wasted tool in the director’s arsenal.
Even further than that, a writer (or writers) needs to know the limitations of the sub-genre, as well as where it can go. Too many writers seem to let the screenplay of a found footage film fall by the wayside, like it isn’t an important aspect so much as the visuals prove to be. Very bad way to look at ANY genre or sub-genre; you always need a good script, or at least an impressive idea to work from.
There are things I do love about Paranormal Activity, while I’ve got a gripe or two, as well. Mostly, I think Oren Peli really did an excellent job as director in cultivating an impressive piece of modern horror. He singlehandedly changed the found footage game, in my mind, after the originals left their highly impressive (and better) mark – like The Blair Witch Project and the infamous, controversial Cannibal Holocaust. Now there are plenty of others, since this film’s release in 2007, trying to work off the simple yet excellent format Peli landmarked.
This is not a perfect horror, nor is it my favourite found footage film. However, I’ve got to say that when I first saw Paranormal Activity – and to this day – there were elements and scenes which really unsettled me greatly and left a lasting impression on me. I don’t think, as a veteran in watching films and TONS of horror, that I’m easily frightened. But genuinely, at times, I found myself clenching up. Not to say I wept in terror or curled into a ball. Though, I can readily admit my muscles tightened and my heart rate pumped fast in several scenes, which is all due to the acting of the two leads and the good work of writer-director Oren Peli.
I won’t waste time relating the plot. This is one of those movies we ALL know about; if not, head over to IMDB or Wikipedia and it’s laid out pretty well. I’d like to just move into the things I liked/disliked about the movie.
An aspect of the screenplay I truly do love is how the character of Micah antagonizes the presence in their home. Starting early on, within the first fifteen minutes even, Micah begins to make fun of the whole concept of some spirit (or whatever) in the house; he plays creepy music, saying he’d like to make the presence feel at home. I always like when a story incorporates scepticism in an interesting way; Micah is a part of that, as he pretty much riles up the thing in their house.
Otherwise, one of the greatest parts in my mind about Peli’s Paranormal Activity is that the effects really started to push the envelope for found footage. Since 2007 there have been plenty more found footage films which used effects to a greater degree, but at the time this came as sort of revolutionary for the sub-genre. Before this movie, and those which followed it (both sequels and other films imitating this style), most found footage horror tended to go for the lost in the woods scenario, adding in tons of shaky cam and screaming and blood/gore here or there. Peli came along and decided to keep the camera stationary almost all of the time, which really helped, and on top of that he tried as best he could to do as much practically as possible, as well as the great majority of the film is centred so much on the relationship between Katie and Micah.
Keeping the camera in one place the way he does, Peli is able to let us relax a bit and get more into the characters and the story/plot than other found footage allows us. As I said, the shaky cam is prevalent in many other films similar to this. Even the amazing Blair Witch Project, there are a couple nearly nausea inducing sequences where the characters are running, screaming, and the camera is jostling around along with their movements; to the point where it’s tough to follow anything. Luckily, that was one of the first real found footage horror movies where shaky cam became a thing, so at the time it wasn’t really overdone.
Nowadays with so many less exciting films than that trying to read in its huge footsteps, we get too many horrors using found footage and throwing in the shaky cam as a legitimate portion of the film when in fact it only detracts from the end product; we’re tired and sick of the shakiness, it’s not simply low budget and realistic it makes things look lazy. In Paranormal Activity, Peli foregoes that nonsense and allows us to get into the relationship between Katie and Micah, watching their lives unfold instead of constantly having one of them manipulate the camera, moving it around, and so on. Though Micah absolutely holds the camera at times, it’s not him running around and catching nothing except blurs. Whenever he does move it, the moment is brief, or at the least Micah is usually standing in one place. I think, albeit probably an obvious touch, Peli does his film a great service by allowing the camera to stay still a lot of the time. That way, his story comes out further, the characters are more interesting, and the plot is able to move along without the audience becoming totally unnerved (not in the right way) by the camera movement constantly shaking us out of touch with what’s happening in the film.
For this reason, as well as the fact effects are incorporated in a fresh way (not saying they’re spectacular; merely they were slightly new to this sub-genre), I truly feel Peli broke new, interesting ground with his found footage horror movie. Not only did it spawn a series of sequels, a whole franchise, Paranormal Activity – in a different way from its predecessors – had other filmmakers looking to do a low-budget horror almost copycatting everything about it.
They say imitation is the most sincere form of flattery; in this case, I think it’s mostly about cashing in.
Finally, it’s the acting from Micah Sloat and Katie Featherston which truly got to me. I think Sloat did a good enough job, especially in terms of being the sceptical and doubting boyfriend; he isn’t completely ignorant and arrogant in his speech, mostly he brings this aspect across through his coy, annoyingly playful demeanour. He certainly acts like a bit of a douchebag, but I think that’s almost definitely the right way for Micah to seem, as a character – it brings out that doubt very clearly for all to see.
Above all else, it’s Featherston who sells this film from start to finish. I like the character herself; she’s been followed all her life, basically, by some kind of spirit, an entity. Not that it’s a new idea. It’s how Featherston plays the character, the innocence she always seems to display and this naive but concerned nature in her. While Katie is the one who believes in it all, there’s still this naivety about her in that she’s holding onto the innocent part of herself, even while this demon/spirit/entity has latched onto her and won’t leave her, or Micah, alone. The way Featherston performs is incredible, unbelievably actually in the final half hour. Once things start getting very intense and claustrophobic in their little house, Featherston does a perfect job portraying all the terror Katie is feeling; there’s one moment where she tells Micah she feels something in the hallway, and I honestly got a fright just out of the urgency in her voice, the look in her eyes. Amazing job and makes Paranormal Activity all the better for it; anyone else would probably not have been enough. Featherston pushed this film above a ton of other found footage out there with subpar acting and lazy characters.
With an undeniably horrifying final 15 minutes, I can definitely say this is a 4 out of 5 star film. There could’ve been a little more in certain parts, but overall this is an excellent modern horror. I’m not saying this will send you to bed cowering under the covers like when we were children. What I am saying is that Oren Peli did a good job directing this, as opposed to so many shaky useless found footage efforts, and he tried to instil the film with as much practicality (from plot to effects) as possible.
This is a slow burn type of horror film, in my opinion. It does well building up tension, in part that’s due to excellent actors, and in the end there’s a massively satisfying and creepy conclusion. Love the end and watching this for the first time since its release 8 years ago, I must admit I like the film more than I’d originally thought.
Cannibal Holocaust: A Documentary of Hell on Earth
Cannibal Holocaust. 1980. Directed by Ruggero Deodato. Story by Gianfranco Clerici.
Starring Robert Kerman, Francesca Ciardi, Perry Pirkanen, Luca Barbareschi, Salvatore Basile, Ricardo Fuentes, and Carl Gabriel Yorke. F.D Cinematografica.
Rated R. 95 minutes.
Adventure/Horror
★★★★ (Film)
★★★★★ (Grindhouse Releasing DVD)
Nearly two decades before The Blair Witch Project horrified audiences with its low budget realistic techniques, Ruggero Deodato’s Cannibal Holocaust shocked horror filmgoers to their core; the first found footage horror movie. While this movie is a solid horror, much of its legacy comes from controversy – where it be from the graphic onscreen violence depicted throughout its runtime, or the explicitly depicted killing of real animals, this movie is infamous rather than famous.
Plenty of famous horror filmmakers have expressed their love for Deodato, this film in particular. Most notably as of late is Eli Roth whose film The Green Inferno is finally making it into theatres and is heavily inspired by/an homage to Cannibal Holocaust.
However, aside from the controversy and praise of other filmmakers, as well as the cult following it has developed consistently over the years, I think the realism of Cannibal Holocaust succeeds due to its use of found footage (the whole thing is not done in shaky cam style as has become the trend in the past 15-16 years), the inclusion of Native peoples in the Amazon, the makeup effects, and the ability of the actors to make everything feel very visceral.
The plot of Cannibal Holocaust sees an American film crew disappear while filming in the Amazon rainforest. They were there to do a documentary on an indigenous tribe, one that still engages in the act of ritualistic cannibalism, as well as violent acts of torture used for punishment.
Harold Monroe (Robert Kerman), an anthropologist, takes on the task of travelling to the Amazon and encountering the tribe in order to determine what exactly happened to the original film crew.
Eventually, once Monroe is able to in effect assimilate himself slightly into the Ya̧nomamö tribe by imitating some of their behaviour – mainly bathing naked in a river with some of the women – he ends up coming across the picked clean remains of the film crew, along with some of their remaining equipment. Monroe is horrified, as well as disgusted. Through participating in a cannibalistic ritual with the tribe, they agree to give him reels of footage.
But the real horror lies in what happens with the footage, as Monroe brings it back to New York where executives from the Pan American Broadcast Company say they’ll be making a documentary out of the footage; one which they hope to have him host. Unsure whether the true atrocities lie in the jungle or the city, Monroe shares footage of what the film crew experienced at the hands of the Ya̧nomamö and no one is close to prepared for what they will see.
I can’t say that I enjoy the animal cruelty bits. While I believe a lot of it ended up being eaten by natives – I know for sure the monkey brains did because the tribe actually requested those not be faked because they’re considered a delicacy in their tribe – there’s still no way to feel good about watching the animals killed onscreen.
That being said, part of me does believe it served a purpose. Not condoning it, so don’t fucking jump down my throat or anything over it. But the film crew were there watching this tribe, they were exploiting every moment of their existence, anything they could film, so I see the whole movie as dealing with how the media loves to glorify and sensationalize violence, atrocities, murder, blood, death, et cetera. Plenty of other films do this in a way that does not involve animal cruelty. However, it comes to bear on how the film crew are just as savage as they deem the Ya̧nomamö to be. They want to film every last bit, they want to see it and have it put on television back in America and have everyone enjoy their documentary.
Seeing them both film the animals being killed, and in the case of the turtle consuming the meat for dinner, we’re led to understand how little difference there seems to be between these indigenous tribes and the curious, exploitative American film crew.
Worst of all is when their guide Felipe (Ricardo Fuentes) gets bitten by a snake. The amputation does not save his life. Still, the camera rolls on and captures everything; Felipe’s dead face in a nicely framed shot. They don’t even seem particularly upset that Felipe dies, only determined to continue on into the jungle.
So let’s forget about the animals for now. I don’t like that this is included, but hey – on the DVD release I own, you can actually watch an Animal Cruelty-Free version, so that’s a plus!
The makeup effects used in Cannibal Holocaust are really something to behold. There’s no wonder people were actually under the impression that people were killed, or died during the making of the film, because for 1980 this looks INCREDIBLY REALISTIC. Very raw, very gritty. You’d swear it was a documentary. We can’t see that now, most of us anyways, because our society is incredibly deep into found footage and we’re so used to it that nothing seems to phase us any more. But in 1980, man – if I were a little older and had seen it when released, I’d probably have been blown away. I’m still blown away today.
Even the scene where Felipe has his leg amputated, it looks as if it were a true documentary watching a man have his snake-bitten leg cut off. The blood, the noise and the feverish movement of everyone around him trying to help, it’s extremely raw and serves to make things feel terrifying.
Of course there are a ton of instances where the makeup effects really get the visceral nature of the film pumping in our veins. The now infamous woman impaled on a spike scene is VICIOUS! I mean, some say they don’t understand how it could’ve appeared so real to an audience, but I say they’re blinded and can’t look at things in hindsight. There are many images, such as the poor impaled lady, which appear torn right out of reality and that’s ultimately why so many people find the movie unsettling. Even when you watch this on the Animal Cruelty-Free version, you realize that aspect isn’t what’s so upsetting about Cannibal Holocaust: everything just looks so god damn real.
Most of all, I think people look solely at the controversy of Deodato’s film and they don’t pay enough attention to the social commentary behind all the blood, horror, madness, and mayhem onscreen.
This all culminates when the film crew actively decides to start messing with the tribe, in order to illicit some type of reaction. A misguided notion all around, and disgusting, which is what leads to the film crew’s disappearance, as well as the hostile Native reaction when Professor Monroe (Kerman) and his team initially arrive as the search party.
When the crew burns down all the huts, with the villagers screaming and trying to escape, you can see so blatantly how Deodato is aiming his horror film at the media. It’s already obvious, but this scene has such a scary aesthetic: that beautiful music playing in the background, the fire, the sounds of the tribe screaming, the film crew each laughing and having fun terrorizing these people; all that makes for a heavy impact.
We’re seeing something that has become even MORE prominent nowadays, more so than even when Cannibal Holocaust was filmed and released – certain pockets of the media (and also religious groups) want to go in an antagonize cultures, peoples, and they want to try and spread their ways of living to supposedly uncivilized places. Of course the film crew here is a bit of an extreme example, but these are the types of vultures we see more and more with the new forms of media erupting.
Most telling in that regard for me is when Alan Yates (Gabriel Yorke) and his film crew stand by and watch a pregnant woman have a tiny child, barely older than a fetus, ripped out of her belly – it’s put in a hole in the mud by the river, drowned, suffocated, then the woman is beaten bloodily to death. All the while, Alan gladly films and gets the best shots of the so-called ritual on film, all the misery. Yet it’s constantly described as some sort of informational process, as if they’re learning great stuff that’s worth sitting through the horror to see. All the horror captured on tape in the name of anthropological knowledge, except really it’s aiming towards ratings, views, money, funding, and so on.
Even worse than that, the film crew – aside from Faye (Francesca Ciardi) – rapes a member of the Ya̧nomamö tribe while filming. It’s bad enough they sexually assault this poor young Native girl, they go ahead and film it all. They went far beyond even just terrorizing this tribe, they actively assaulted and raped a member, which then prompts the infamous impaling. Sickest of all is how Alan turns on the horror for the camera, pretending to have no idea why this girl would’ve been executed in such a fashion when obviously being raped is what precipitated her death, sadly. Another moment where you can see how Deodato is taking hard shots at the media and how they wish to sensationalize pain, suffering, and certainly violence.
Something I forgot to mention but cannot: the score. It is beyond unsettling. There’s something both very 1980s and also incredibly effective about the score. At times they have the beautiful score playing, even juxtaposed with brutal acts of savagery by both the tribe and the film crew; a technique I enjoyed a ton. Then we get deep, dark electronic sounding bits where it makes your pulse pound thick. I think without the score, many of the moments wouldn’t have properly come off, so this goes to show how a horror can effectively use a score and music to push along a feeling. Such is definitely the case here, as the music really gets under my skin; I always noticed it and each time I see the film I make a comment, to someone, anyone who will listen, that I find the score one of its best elements.
I’m going to give Cannibal Holocaust a 4 out of 5 star rating. If Ruggero Deodato hadn’t opted to include such graphic and horrifying animal cruelty onscreen, I’d be more inclined to say this is near the perfect horror film. So many incredible makeup effects are included here and the gritty, raw nature of the look makes everything work better than I’d ever have imagined. While it is a tough movie to sit through, even for some of the most initiated horror hounds out there (of which I include myself as a card carrying member), I do think Cannibal Holocaust belongs amongst the most classic horror movies of all-time. It is nasty and at times unnecessary, however, Deodato has a message behind all of the terror and the gore about how the media derides violence yet at the same time choose to focus in on it, zoomed, close-up and tight on the horror for your viewing pleasure.
The DVD, which is a double disc set, from Grindhouse Releasing is a spectacular release! 5 stars all the way. There’s a good few hours of extras, including behind-the-scenes featurettes on the filming, as well as interviews, and everything from the music to the effects. I have to say I’m more than pleased with the DVD. I hadn’t gone through all the Special Features until now, but it is well worth the $25 I paid a few years back. You can dive in and learn all sorts of stuff about Deodato’s film with the second disc of the set, totally dedicated to the extras.
I recommend that if you’ve not seen it, and think you can handle it, watch Deodato’s notorious horror classic. As I said, on the DVD release I own you can watch a version completely devoid of the animal cruelty. So if possible, I’d say view it and judge for yourself whether this is exploitation at its worst or if it is a cult horror that deserves all the recognition it gets.
The Gallows: Wasted Opportunity & Wasted Youth
The Gallows. 2015. Directed & Written by Travis Cluff/Chris Lofing.
Starring Reese Mishler, Pfeifer Brown, Ryan Shoos, Cassidy Gifford, Travis Cluff, Price T. Morgan, Theo Burkhardt, David Herrera, Gannon Del Fierro, Mackie Burt, and Adrian Salas. Blumhouse Productions.
Rated 14A. 81 minutes.
Horror/Thriller
★★
Found footage is a sub-genre I do enjoy, honestly. That being said, there is still a fine line between what I enjoy and what I find crap. Some people say it’s all crap; that’s just dismissive, to me. I’m a fan of Cannibal Holocaust, unapologetically I love The Blair Witch Project, and then there’s newer stuff I’ve enjoyed like the V/H/S trilogy (I got a ton of online shit on an IMDB message board for my love of all three especially the third), Lovely Molly, and the terrifyingly unsettling Home Movie. There are other titles, I just don’t want to go on. You get the picture: if something is done right using found footage, I believe there’s no reason it can’t be enjoyable. Certain people seem to think the whole sub-genre is useless, but again, I say that’s nonsense. Found footage needs to be used effectively, otherwise it’s simply another gimmick. To say there’s no good found footage is ignorant.
The Gallows has a fun premise and I haven’t seen any found footage so far to use this setting. The majority of what I enjoyed about this movie is the atmosphere, most of which came from the location of the school’s auditorium/theatre. Otherwise, I found almost all the characters to be stiff; the high school dramatics felt real, I did think Reese Mishler and Cassidy Gifford were pretty decent throughout the movie, but overall the cast wasn’t very solid. With only a little to enjoy, The Gallows feels more like a wasted opportunity than an absolutely useless horror.
Starting with a recorded home video from 1993, we see a boy named Charlie Grimille accidentally hang to death during a high school play. Worst of all, it happens in front of an audience who watch on in absolute fear and horror.
The present day in The Gallows sees a new production of the play being put off. In one of the main roles, a jock named Reese Houser (Reese Mishler) tries his best to play his part opposite a girl he has a crush on named Pfeifer Ross (Pfeifer Brown). At the same time, Reese’s jock budy Ryan Shoos (that’s also his real name) films everything behind the scenes, supposedly helping but doing nothing except make a mockery of the production while others work hard and passionately to make it the best they can.
In an effort to supposedly save his buddy Reese the shame and failure of going onstage, Ryan suggests breaking into the school’s theatre at night and trashing the set. That way the production would be halted and Reese could ‘comfort’ Pfeifer. Misguided and foolish, Ryan, Reese, and Ryan’s girlfriend Cassidy (Cassidy Gifford) head into the school through a door said to never be locked, due to it being broken for years.
However, once they run into Pfeifer inside – who wonders why they’re even there in the first place, as they wonder the same about her – they discover the door is now locked, out of the blue. What follows is a horrifying night for the group of friends while they begin to figure out all about what happened 20 years ago to Charlie Grimille, and why he’s still lurking in the shadows of the school.
There’s certainly an innovative aspect to The Gallows in its premise. I think beyond that, there’s not much to distinguish it from other found footage horror movies. However, the whole concept is pretty fun. Theatres in general all have their own spooky nature; there’s something eerie about a theatre, all the history and the many people who’ve graced both the stage and the seats. Add in a school and it’s even creepier, as old schools all have their own history, many lives passing through its halls and corridors, as well.
Unfortunately, I don’t think the filmmakers used this premise enough to their advantage. As I said, most of The Gallows sticks to the bargain basement techniques of Found Footage 101. For instance, there’s an early and needless jump scare – that you can’t even fully call a proper jump scare – which involves Ryan (Shoos) just popping up in front of his camera in his bedroom; not even horror, simply him trying to pull a gag. Stupid, and also gets your heart pumping for no good reason. A jump scare is effective if there’s a reason, if there is purpose to it, however, if you simply make people jump without any substance whatsoever then it’s a piss off. For me, anyways. There’s always the “trick jump scare” in horror movies, but this is not one of those at all. It’s just a dumb addition; in fact, the scene in which it’s involved serves no purpose itself, so the whole 1 minute or so could’ve easily been trimmed out of the film.
Even though the movie uses so much of the shaky cam style, there’s still a decent atmosphere all the same. As someone who acted a great deal from a young age up until my early twenties, I spent a massive amount of time in theatres; specifically the big one at the Gordon Pinsent Centre for the Arts back in my hometown, which partly resembles the auditorium of the school in this film. There’s something inherently spooky about the cold, sterile like hallways in the basement, the darkness of the theatre behind the stage, which immediately makes things unsettling.
If this were done in straight style, using some more steady handheld work even, I think it would’ve benefited greatly. Now I know, Blumhouse most likely wanted to try another lower budget found footage effort and try to make big bucks; the estimated budget is only$100K, which by industry standards in Hollywood is a minuscule production. But still, this is where the concept of the entire film becomes wasted. I’m confident had the filmmakers chosen to do this without found footage, a ton more emotion would’ve come through, the backstory might’ve benefitted – as well as the ghostly presence of Charlie – and the scares could’ve been ten times more effective.
Sadly, The Gallows comes out much like so many of the low budget indie efforts in the found footage genre – the ones unable to rise up to the weight of their premise.
One particular scene I did find effectively creepy, regardless of the found footage style (mostly because the phone camera being stationary for the shots), was when SPOILER ALERT Cassidy (Gifford) is in the red lighted hallway; behind her in the dark creeps the figure, hooded like the Hangman from the play. What I find most scary here is how there’s a moment where you don’t see anything, then all of a sudden – as if magic – the noose is around her neck. An unseen force drags her away through a door in the background of the shot, and it slams shut behind her. Very good and creepy scene, I found it wasn’t jumpy it was simply a nice shock to the system. A solid scare.
Furthermore, there’s a scene where Reese (Houser) and Pfeifer (Brown) are running from the ghostly presence of Charlie, clad in the suit of the Hangman, and they’re climbing up a ladder – we get an excellent, terrifying look at the Hangman mask/suit up-close. It’s again not a jump scare, so much as it’s one brief look that gives you enough to make you go WHOA. I’d almost love to see a slasher now set in medieval times, or before, with a hangman as the slasher – it’s just the first thing that popped in my mind when I saw the mask. Awesome little shot, not too long and not too short.
A part of the plot I did like was when everything returned in a circular fashion to the stage, as Reese and Pfeifer act out their scene together, and the camera turns on. The lights go up as well and the stage is set.
However, after that sequence I found things started to fall off. What I don’t like is how Blumhouse is basically setting things up right at the end for another movie. That’s essentially what happens, can anyone disagree? It’s like a mash of things happening right at the end. There’s simply too many reaching connections. So SPOILER ALERT AGAIN we’re meant to believe that Charlie’s girlfriend – the woman who continued to sit in the same seat and watch the practices, waiting for another performance of the play which killed her boyfriend 20 years ago – is also Pfeifer’s mom? I’m pretty slick most of the time, so I apologize if I’ve misunderstood. But the finale is pretty much tell us all that. I found it very mixed and matched, like puzzle pieces not intended to fit together which were simply mashed into a pile for the sake of trying to turn The Gallows – and Charlie – into an iconic style horror movie.
But this is another problem I have, I feel like Charlie is made out to be this slasher type killer. Instead he’s a ghost with a noose. That’s fine. At the same time, the movie is being marketed in a sense that Charlie’s supposed to be aimed toward becoming the next Jason Voorhees or Michael Myers. I think not. First of all, the movie itself is nowhere near good enough to become anything like either John Carpenter’s Halloween or Friday the 13th. Second, Charlie just doesn’t come across in that way. There are most certainly a couple creepy scenes, there’s not enough viciousness for me to say Charlie is a bonafide slasher. Maybe had he really done a psychotic job on one of the high school kids, I could give in and say there are elements about the character which fit the bill. I can’t say that at all because most of what happens is ghostly creeping in the background, supernatural deaths, and nothing in the way of any blood. It’ all about the noose. Certainly no gore anywhere to be found. Is there really any way we can call Charlie a SLASHER if he did no slashing? Something to think about. I guess that’s partly the marketing’s problem. Still, I feel as if the filmmakers were also pushing towards that, particularly with the ending. There’s just no way I can get with that.
I can give The Gallows a 2 out of 5 star rating and feel okay with that. Some people say this is utterly trash. That’s fine, I respect anyone’s opinion as long as they’re not trying to force it on me as if I should feel the same way. However, I don’t think every last piece of this movie is bad. There are spots I thought were incredibly unsettling – one scene where Ryan slowly discovers there’s a body hanging up in between the walls in this tight crawlspace-like room I found to be VERY CREEPY. Ultimately though what makes The Gallows fall short is a reliance on horror cliches and tropes to the point of retreading too deeply through the footsteps of so many other found footage horror efforts, as well as the fact I found much of the acting (aside from Cassidy Gifford and Reese Mishler) extremely wooden. Not to mention I found the ending poor, beyond rushed, and it felt as they were forcing everything down our throats. While I did find parts of it scary, that finale did nothing for film overall and only served to make me actually say aloud once the lights came up: “Oh wow – that end was rough”.
Like I’d mentioned before, I think The Gallows would’ve made a better film if it went without found footage. Alas, Blumhouse – while doing exciting things on other ends – loves to go for the low budget shots in the dark like this after their huge success with bleeding dry the premise of Paranormal Activity. So it’s no wonder they went for a found footage style here instead of filming it regularly. Maybe more money would’ve been pumped in, but it still could’ve told the story more effectively, creeped people out in a much more visceral way than they accomplished here, and perhaps the performances might’ve also benefited from having a solid style. I can’t recommend this much, however, it isn’t as terrible as some critics and people online are making it out to be.
See it if you want to judge for yourself, and I urge you to do so – I’m no one to be listening to, really. Just don’t believe all the trashing, while at the same time you need to remember you won’t find anything more than a generic found footage horror. There are tons of better found footage movies out there to get you creeped out.
The Birth of a Horror Fad: The Blair Witch Project
The Blair Witch Project. 1999. Directed/Written by Daniel Myrick & Eduardo Sánchez.
Starring Heather Donahue, Joshua Leonard, and Michael C. Williams.
Haxan Films.
Rated 14A. 81 minutes.
Horror
★★★★★
I don’t know how people my age look back on The Blair Witch Project now 16 years since it first hit theatres and completely scared the life out of, most, everyone. Personally, as a 14 year old kid when this came out, I remember begging mom and dad to get it for my birthday. Actually it would’ve been on my 14th birthday when I officially saw this film because I believe it was released in the summer of ’99; I turned 14 that October. So honestly, the first I ever saw this the finale especially frightened me to death. I couldn’t go to bed without thinking of someone standing in the corner, facing inward, I was always thinking of that haggard basement, wondering who or what was lurking around its corners. I mean, say what you want but I think this is still one of the best found footage horror movies that has ever come out.
Now, I will concede to some people who say that The Blair Witch Project capitalized on being the first big, mass marketed found footage horror movie. Of course along with that is going to come some part of its fame; whether fame or infamy, time tells. Before this there was the savage horror Cannibal Holocaust – a film so nasty, raw and real in 1980 that Ruggero Deodato actually had to prove he didn’t kill the actors during its making. That I guess is technically the first found footage. There are others after it and before this one. For instance, 84C MoPic is a little independent fake documentary styled film about a missing during the Vietnam War. Then only a year before Blair Witch, there was The Last Broadcast, which could’ve been one of the top found footage films along with this, however, the climax/end completely ruined everything to come before it; unfortunately so, really disappointed me because I thought it was going to be incredible all around.
So The Blair Witch Project is not necessarily overly innovative in its usage of found footage. That being said, this movie benefited from the way it was filmed in that the actors basically were just given minimal script direction, then sent into the woods to be messed with by the film crew and directors. As well as the fact this film was marketed perfectly. Just as the internet took real life and became an entity of its own, sprouting into a near living, breathing thing – right before Facebook and everything else was poised to come alive too – The Blair Witch Project sucked people in with websites, marketing campaigns, and a realistic feel to the film, all combining to leave a huge impact on us culturally in terms of how horror movies would evolve; from how low budget filmmakers would go on to begin breaking into the business in a new way, to how many horror movies would come to be marketed by production companies for years and years to come.
The film follows Heather Donahue, Michael C. Williams, and Joshua Leonard – three student filmmakers – who during 1994 head into the Black Hills surrounding Burkittsville in Maryland to do a documentary. Their subject is a legend around those parts concerning an entity supposedly named The Blair Witch. Stemming from local stories involving a frightening old woman, as well as a man who committed murder by offing numerous children, Heather and her two companions collect interviews and stories about events that may have involved the witch.
After Heather, Josh, and Michael go missing, their footage is discovered one year later. Once the footage rolls and it is all over, the viewer will be witness to what happened on their fateful trip into the woods. As the three friends walk further and further, it seems they can’t find a way out from the trees, only falling deeper and deeper into unknown territory. First, Josh goes missing when the other two wake and find him gone. Moving on without him, Heather and Michael are scared of what may have happened. Then one night there comes screams from the darkness: it’s Josh. His voice calls out for them, but they can’t figure where it’s coming from. What follows is pure terror.
For me, ultimately, what I find so effectively scary about the film is that it does feel real. To me, anyways. I know it’s not, obviously. Man – if you can’t tell that, especially nowadays in 2015 onwards, then you ought to reevaluate how the hell you’re even watching films.
What’s most real to me are the relationships between Heather, Josh, and Michael. They’re three friends and they have a common bond, they want to go out and make a little documentary; they’re students and they want to do something artistic and fun and interesting and cool. I get that sense from them, as they go on the road, traipse through the woods. Then it’s clearly obvious when things start falling apart they’re friends, because friends always get so vicious and the like when friction like that happens between one another. It all comes full circle anyways, as Heather accepts the blame and gives her video confession. So I thought this was something that helped the film all around. Without a group of people who feel connected and who seem to have relationships – essentially without people who don’t feel REAL – then there’s no way for the suspense and tension of a found footage horror to play out properly.
From the first time I ever saw this movie, right to now as I watch it again, the final scene kills me. When Heather and Michael head into the house, even the look of how rundown it is strikes me as creepy. Plus, there are all the handprints of children littered throughout; on the walls, everywhere. It’s definitely chilling. Not to mention you can hear the moans and cries of Josh somewhere within, but just like his two friends we’re lost and stumbling.
Right at the end, though, is where I’m always creeped out to the fullest lengths. We know about the story of the children being put in the corner, avoiding the eyes watching as he kills the other child – now Michael stands in the corner, facing in, as Heather approaches and then she also tips over, the camera falling and the screen going blurry. I’ve always thought that part came off highly unsettling. There’s some quiet and subdued in this part of the scene whereas before things get pretty chaotic. I like the little lull in pace and intensity as Heather and Michael enter the house and look around, just before the last punch of terror. It’s perfect, if you ask me. Quality ending. In fact, I’ve seen some say it was boring up until the final 10-15 minutes. Maybe to some, I just say the tension and suspense got treated correctly and built up in an appropriate way. Nowadays so many found footage horrors try and go for the jump scares when The Blair Witch Project uses virtually none – you might consider the final shot a jump, however, I don’t at all. Simply a jarring end. I like that this movie went for a slowburn approach. In my opinion it worked and continues to work on me today.
I’ve got to mention how awesome the production of the film is, in the sense that the actors were sent out into the woods and terrorized at points without really having full knowledge of exactly what was about to happen. I’m sure a ton of films have emulated it before in certain ways, and certainly plenty afterwards in their own right, but The Blair Witch Project is one of the first found footage movies to take that to another level. You can genuinely sense the fear in the actors at certain times as they’re careening through the woods, holding cameras, rattling at high speed while they push out into complete darkness with only the camera’s light to guide them. Honestly, if you can kid yourself into believing a ton of this is not real fear in their voices/faces/reactions, then you’re blind! I’m not saying every last bit is all natural, but you can bet your ass there is a good deal of the emotion in this film that came about honestly and in a genuine manner. That’s a big part of why this is such an enduring horror movie, and why it will always be touted as the forerunner of the found footage movement. Not because it was the very first – it was not at all – but merely because of the lasting impact it has had on audiences and the horror genre, as well as the way in which it was acted and filmed.
From the moment I’d stopped watching this movie for the very first time, after the credits rolled and I was fittingly terrified, I knew this was a 5 star film for me. Tonight, as I watched again and revelled in the perpetual terror of those last 15 minutes or more, I counted this again a perfect horror. Maybe it isn’t for others. Maybe some, or many, have gotten plenty sick of The Blair Witch Project by now at this juncture in the genre’s evolution. My opinion is that this will last the test of time, this is always going to scare me and it’s always going to scare a lot of people.
I wish that I could come back to The Blair Witch Project with fresh eyes for the first time, all over again. This is one movie I’ll never forget where I was when I’d seen it, how I felt, so therefore I can’t deny its personal impact on me. It’d be incredible to experience that sort of thing over again, anew once more. Either way, I still get that same old fright with each and every viewing. Of that, I can never ever complain.
Avoid The Bunny Game & its Needless Misogyny
The Bunny Game. 2010. Directed by Adam Rehmeier. Story by Rodleen Getsic & Adam Rehmeier.
Starring Rodleen Getsic, Jeff F. Renfro, Drettie Page, Coriander Womack, Gregg Gilmore, Loki, Curtis Reynolds, and Jason Timms. Death Mountain Productions.
Unrated. 76 minutes.
Horror
No ★s
Sometimes there comes along a film that is so dreary and needlessly graphic that I question why it was ever made. Now, before anyone says “Well if you can’t handle it then that’s not the film’s problem”, let me tell you this – I’ve seen plenty of disgusting, disturbing, outrageously graphic, gory, and beyond fucked up films in my time. I’ve seen a little over 4,100 movies in total. Many, many of those are horror. I’ve seen my fair share of good horror, as well as a lion’s share of terribly made, awful horror movies. I own Cannibal Holocaust, which is a nasty piece of work, and I’ve actually seen Salò, or the 120 Days of Sodom one more than once occasion – don’t ask me why. Plus, I’d actually consider those good horror. Then there’s the type of stuff I’ve just about perished while trying to watch, like the absolutely terrible August Underground stuff; pure, utter tripe, does nothing for the genre except make it look awful. Realistic? Sure. Realism does equate to quality, though.
So when I say that The Bunny Game is a grim and dreary, nasty piece of work, I’m saying it in the sense that it is all that but nothing comes of it. It’s not a good film overall. Ultimately, this is one of those brutal horror films which goes nowhere with what it’s trying to accomplish, and by the end you’re just wondering: A) why didn’t I turn this off sooner?, and B) I hope nobody makes a sequel to this one.
Either way, the result of The Bunny Game is not, as some no doubt paid crew members have spouted off on IMDB and other sites, in any way the reinvention of the genre. No way, shape, or form is it anything close. I never like to rag too hard on a film, but unfortunately for this one I just cannot find the words to express anything enjoyable or positive about any aspect of this muggy turd.
Bunny (Rodleen Getsic) is an unfortunate soul, left on the streets – who knows what her sad story truly is – and resorting to prostitution.
She goes from one motel room to the next, searching for another meal, trying to stay high and alive. She squats and pees on the side of the road because she has nowhere else to go. She’s also so coked up that she passes out; one of Bunny’s customers goes ahead and has sex with her anyways, then proceeds to loot the bag she carries around constantly. After waking up to find the trust backpack empty, she loses her mind. But it’s just back out on the street once more, on to another miserable day.
Finally, she gets picked up by a trucker who wants to do some drugs with her; he needs a pick me up after a long stretch on the road. But that’s not all he wants – Bunny is taken hostage, thrown into the back of his truck, where a camera is setup, there are chains, and the trucker has plenty of sick games in mind for the poor, lonely girl.
At times we’re treated to these shots that go on for what feels like eternity, and I’m truly at a loss as to why they’re in film. I get that the trucker guy this insane dude, is supposed to be developed slightly before things get going into the brutality full-on. However, having this man just walk around a little, smoke some cigarettes, drive – I mean, what’s the purpose? Perhaps if there were some nuisance, subtlety in this character, or in the performance, there’d be a reason to focus so much on him in such a languid, boring way. The camera’s not doing anything interesting, we’re simply watching this man. There’s nothing going on much in his face, in his mannerisms, though, I suspect there should be. We’re just not seeing much.
Then he climbs into the back of the truck with Bunny, who is out completely cold, and the real misogyny and nastiness begins. I honestly loathe the stupid “torture porn” label because I think it’s stupid, although I realize what the label is meant to convey. That being said, I’d go ahead and say this is the concept of “torture porn” at its worst, at the most base and vile it can be on film. We’ve got to watch this mental trucker suck on Bunny’s nipples, play with her earlobes and other weird sexual stuff. It’s fine to have a character that deranged in the movie, but why do you have to explicitly show all this stuff? Only makes things disgusting. There’s nothing scary about what he’s doing, it’s the same as watching a badly lit, poorly shot pornographic movie that’s all about sadomasochism and extreme bondage. That’s pretty much what this whole section felt like, as he trucker revels in having Bunny captured in the back of his truck’s trailer. You don’t have to go subtle on every last creepy/scary scene. For me, though, I find there needs to be some sort of tension through not having to graphically see every last bit of the nasty business. Adam Rehmeier says fuck that. Leave nothing to the imagination.
Also, just the fact that the trucker does a bunch of nonsense supposedly “crazy” stuff, it really took me out of things. So much overacting. Awful, really. I thought it was bad, others think he’s some kind of amazing villain. Seriously? I couldn’t get into it. One bit of bad shlock after the other. Huff gas – go crazy – laugh – tell Bunny to shut up or shhhh – repeat.
The black-and-white also did nought for me. I honestly gave The Human Centipede II a star or so just because I found Tom Six’s use of black-and-white pretty interesting in some of the more tame scenes. They gave it a nice off-kilter feel that was very creepy. Here, The Bunny Game feels like it used black-and-white to try and force the idea that this is somehow an innovative or interesting film. There is nothing good about the movie and the use of black-and-white only made things more dismal; not in a good sense.
Ultimately, the whole movie is a bunch of perverse nonsense, mixed with Rodleen Getsic screaming at the top of her lungs a little, plus a ton of quiet, boring moments with the trucker doing nothing at all. Honestly, I don’t jump on a film for the sake of jumping on it. I’m actually one of the types who is often a fan of films people hate – not as a rule, there are just a handful or so of movies I love that others despise (like Exorcist II – fucking love it!). But I just simply can’t bring myself to like what Adam Rehmeier has done here. There’s nothing inspiring in terms of the horror genre, it’s a retread through territory we’ve seen before, just as nasty, but there are plenty of so-called “torture porn” films out there which aren’t this terribly made or as horrid for no purpose.
I also saw, maybe on Bloody Disgusting or a similar site, that someone said this was extremely well edited. Is that truly their opinion? My good lord Satan. If they think this is masterful editing, I don’t want to see what they find to be bad examples of editing. Because this is, at times, like a black-and-white music video on crack. There’s a frenetic quality to it that’s absolute irritating, as well as fairly useless in my opinion. I really hated the way this was edited, and to think others found that to be one of its best, probably its only, good aspect – I can’t fathom what other poor movies they think contain nice editing. There’s not a moment where I found myself impressed by any of the technical side to The Bunny Game. I’m not trying to be mean: there’s nothing here that’s any good.
In all good conscience, I cannot give this film a single star. On IMDB, you can’t give 0 ratings, so if you happen to come across my ratings page on there and see it has 1 star, versus my 0 here, just remember: they won’t let you do it.
There is not a solitary redeeming aspect of The Bunny Game. It aims to be terrifying and disturbing, and while it may come across as the later at plenty of moments there’s nothing overall scary about this film. There’s not an ounce of suspense or tension in the whole lot; that’s enough to kill any horror. The acting is bad. There’s mostly a lot of yelling and screaming and spitting and weird touching and sexualization at every near, but no good acting, the script is complete trash, and the thing is filmed poorly.
I suggest that you see this only if you’re a completist, or if you’re one of those people who gets off on terrible horror that borders on the line of being the recreation of a snuff film. Otherwise, pick up a better bit of horror and have yourself an enjoyably creepy view! This didn’t make me feel anything, not for a second, and if a horror doesn’t scare me, even in the slightest sense, I don’t see what the point of it is in the end.
