There Are No Answers for Evil in HOME MOVIE

Home Movie. 2008. Directed & Written by Christopher Denham.
Starring Adrian Pasdar, Cady McClain, Amber Joy Williams, Austin Williams, Lucian Maisel, & River O’Neal.
Modernciné.
Rated R. 80 minutes.
Drama/Horror/Thriller

★★★★1/2
posterThe theme of evil is a prevalent one in the horror genre. Whether through a lens of science or organised religion, there are many films that tackle the nature of evil; from where it originates, what makes a person evil and drives them to do evil to others. It’s hard to ever know, but horror movies do their best to give us all the scenarios for our sick enjoyment.
Christopher Denham gives us Home Movie – a suspenseful, eerie addition to the found footage sub-genre. Using the story of two parents – David and Clare Poe (Adrian Pasdar & Cady McClain) – who are having trouble with their young, strange children, Denham explores the idea of evil. The main plot has to do with the mother (works in psychology) and the father (a pastor) having opposite worldviews, so they’ve come to different conclusions on what is making their children act like two budding serial killers.
What makes it all so effective is attention to sticking with the found footage format, generally keeping close to making it feel like this footage was actually FOUND instead of edited together. Furthermore, Pasdar and McClain are a natural couple with positive chemistry for the roles, alongside Amber Joy Williams & Austin Williams as Jack and Emily who act beyond their years with an ability to creep you out that needs to be seen to be believed.
Trust me. If ever creepy kids were creepy as hell, Home Movie is the flick.
pic2Opening the film with dead animals being wrapped in plastic bags, put in a kid’s wagon, then quickly cutting to David flicking through the camera starting to film some nice family moments is a masterful juxtaposition. This sets the film’s tone fast. A disgusting moment juxtaposed against the innocuous, typical dad-like activity is like a thesis: we are about to witness a (semi)normal family descend into macabre madness.
There’s a lot of dragon imagery throughout the story. We see the dragon puppet the kids have, and then dad tells his children a story called “The Dragon and The Paper Bag” that concerns a dragon who disguises himself to fit in amongst boys and girls only to eat them up in a dastardly plan. Notice it’s a two-headed dragon. So, quite swiftly Denham sets up a symbolic parallel between the two-headed beast and the two Poe kids. Just as the dragon walked and talked like a child but was only pretending, we eventually come to see how the Poe kids also pretend to be children while they’re so much more in the most sinister of ways.
Our first big indication of a serious problem, as well as the kids’ affront to their parents respective fields (a conscious effort on their part), is the crucified cat. On Christmas Day, no less. They don’t just kill a cat, they don’t simply nail him to a piece of wood: they crucify him. This is their initial dig at God. Worse still, it’s likely the kids who set into motion the mistaken assumption on their mother’s part that David is abusing them. He gets drunk on New Years and ends up laying in bed with his kids; they wake up with bites all over them, deep and hard. Earlier in the movie we hear Clare tell David to stop biting her. And so the kids – who are known to be watching the tapes – bite each other. They manipulate Clare into thinking that her field of science is the one able to provide an explanation: David, as it turns out, was abused as a boy, and so statistics show many abused kids grow up to abuse their own offspring. More and more, little Jack and Emily set their parents against one another, all in the name of completing their evil without being bothered too much.
pic3So many message boards for this movie have thrived on the idea that there’s actually a chance the kids were possessed. Not true, at all. Not in any way. The children aren’t possessed, nor can psychology and all the science of the world properly diagnose and explain their evil behaviour. Just like the most famous serial killers in history, these kids are psychopaths. They’ve gone from nailing down worms to beheading dogs, crucifying cats, to first harming another child to likely murdering their own parents. The whole point of the film is that evil has NO explanation. There’s no one solitary answer. Even the FBI with their checklist of factors which lead to someone becoming a serial killer readily admit there’s no right combination; each person, and consequently their personal brand of evil, is different.
What’s positively evident at all times is the creepiness. Pasdar’s charm as the family patriarch lulls us into a complacent feeling, like these are real people, as does the relationship between him and McClain. Set against the parents, Jack and Emily are terrifying, two near emotionless children, manipulative and worrisome at every turn. The family dynamic overall is so natural that once the horror gets going full force you’re swept away by each following event. Calling back to the dragon, the kids don paper bags when committing ghastly acts, such as preparing a friend from school to eat – they don’t get to do it, but close enough. Later when they have their parents tied up, they once more put on their paper bags. Again, their likeness to the dragon is brought to the front. We see the kids for who they are: monsters. They even wear Japanese-style masks, reminiscent of dragons, as they lay siege to their parents before the climactic moments. Love the imagery that repeats, getting stronger with each appearance, until the horror is unbearable.
pic3-1This is a great found footage horror. Near the end, the kids start setting up for “The Jack and Emily Show” and it’s as if Kevin McCallister and his younger sister teamed up as killers to make his wish of never seeing his family again come true; the found footage edition of Home Alone. Most of the sub-genre is adhered to, although a couple times a bit of choice editing works its way. I can forgive some of that because Denham really makes the whole thing look like we’re seeing home movies, some messed up and static-filled, bits merging together having been taped over time and time again.
Above anything else, Home Movie unnervingly looks into the nature of evil, positing that between science and religion there are no full explanations. Try though people might we will never find an exact definition or idea of evil. When it comes to the subject of killer children, or those kids who may go on to be serial killers at a later age, there’s often no way to clue everything up in a nice package for people to say “Oh this is evil” like a coordinate on a map. No. Just as the Poe children show us, there are no ways to understand evil, and certainly not in such young people. Evil is fluid, it comes in many forms and all too often inexplicably.

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THE BAY’s Nightmarish Ecological Horror

The Bay. 2012. Directed by Barry Levinson. Screenplay by Michael Wallach.
Starring Nansi Aluka, Christopher Denham, Stephen Kunken, Frank Deal, Kether Donohue, Kristen Connolly, Will Rogers, Kimberly Campbell, Beckett Clayton-Luce, Dave Hager, & Justin Welborn.
Hydraulx/Haunted Movies/Automatik Entertainment.
Rated R. 84 minutes.
Horror/Mystery/Sci-Fi

★★★★
POSTER Perhaps why The Bay works and feels better than so much of the other found footage fodder spewed out over the past four or five years is due to the fact director Barry Levinson is neither someone who we’d expect to tackle horror, nor is he the type of director you’d imagine would veer into this particular sub-genre. Nevertheless, what results is an interesting piece of work. It isn’t always flat out horror. What Levinson does best with this story is provide a raw and honest look at a community that ends up descending into terror because of ecological issues. Of course it dives headlong into science fiction. It’s real feeling sci-fi. Even after the movie nearly turns into a creature feature, though one that smartly avoids an actual creature per se, Levinson is able to retain that truthful sense of atmosphere. In part, that’s due to the found footage style emulating scientific recordings, news reports, and much more. Also, it has to do with the writing, the believability of the story and its plots, as well as the fact there’s such an excellent sense of mystery which weaves itself around the film until all its shocking events unfold. Critics like Ebert and some others accused this movie of not actually having any horror. Is that a joke? Sure, fear is subjective and we’re not all afraid of the same things. However, I find it tough to say Levinson doesn’t draw out all the terror inherent in this story. In a day and age where people are questioning the practices of Monsanto and other big companies, and the governments both federal and municipal which make deals with them (often without consideration of the effects it actually has on citizens in lieu of big pay days and incentives), The Bay is a remarkably poignant bit of horror cinema that capitalises on the found footage sub-genre to make its story real and visceral, no matter if it’s technically a work of science fiction.
Pic1 What’s so eerie to me is that gradually once you figure out something’s wrong with the water, everything after that (and before it if you go back to watch through again like I’ve done several times) is painted in such a sinister light. You don’t even need to go back through honestly, as before the first ten minutes are through we’ve figured out that something is not quite right.
Levinson’s directorial choices work well because he takes us forward through several different angles. You’ve got everything from a radio show to the main framing of rookie news reporter Donna (Kether Donohue) on the scene in the midst of all the madness. Then there’s the doctor via phone call with the CDC agents discussing the massive outbreak at his hospital. Plus, there’s a bunch of the found footage cellphone and camera videos from people experiencing unsettling events around the Chesapeake Bay on the 4th of July. Even some dash-cam footage from police officer squad cars, which is possibly some of the more unsettling stuff; one sequence where the cops find infected people inside a house, all via audio from the cops, is possibly the most unnerving moment out of the entire film.
I enjoy the news reports with Donna because she gives us an idea about how the media doesn’t only spin things into a story, sometimes rather the media is simply kept on the outside, whether because of their own inability to get to the bottom of things or that they’re purposefully being kept at arm’s length. At the same time, once things get kicking that whole omnipotent perspective over all the various plots which Levinson allows us an eye on reveals all the various treachery in Chesapeake Bay, and how the little seaside town got to where it is in the violent breakdown.
Pic2-1Pic2 There’s genuinely unsettling body horror happening, which is another reason why I dig the film. Levinson and his crew make the horror so viscerally nasty that it’s something you could see coming from a guy like David Cronenberg. Instead of focusing solely on the nastiness, there’s a good deal of psychological horror on display. Intensity cranks up near the end with streets literally lined by corpses, people getting eaten alive from the inside out. But more importantly the government failures on many levels become perfectly clear, if they weren’t already before. The fact the divers were discovered a couple weeks beforehand, as well as the government worrying about panic spreading after the fact, we’re able to scarily understand how these types of things could happen then find themselves being covered up. Couple that with the fact all the footage we’re seeing was supposedly confiscated and the government gives a lackadaisical response and explanation for the outbreak, then Levinson and writer Michael Wallach make sure to retain the raw elements of what makes The Bay so interesting. Because it’s partly the horror, all those nasty bits and pieces of gross out practical effects and the wildly chaotic moments that make your pulse pound. Yet the most interesting aspect to me is the fact this plays so well as a mockumentary, elevated to a sci-fi/horror hybrid. As opposed to most found footage films out there, aside from a pack of well made titles, this one’s got genuine characters which are furthermore paralleled with genuine performances from the actors to make the reality of The Bay that much more believable. Ultimately, you can’t ask for any better from a horror/sci-fi film than for it to feel realistic. And above anything else I certainly can’t fault Levinson for lacking an honest touch.
Pic3Pic4 This is most definitely a 4-star found footage horror. It has the perfect bits of sci-fi and a mysterious, engaging script. Barry Levinson is sometimes hit or miss for me, but always interesting. The Bay is one of his most recent efforts I dig most. He hits hard at the ecological horror here and perhaps, using his studies of the Chesapeake Bay for the basis of this creepy little flick, says something viable about our dependence on local politicians to make big deals which affect the safety of their citizens. Who knows. Maybe it’s just a fun bit of popcorn horror. Either way, this is one effective bit of cinema and I hope we’ll get some more of these types of found footage movies in the future. Would be nice if Levinson did another creepy movie because he’s absolutely got the chops.

Area 51: Oren Peli’s Extraterrestrial Blunder

Area 51. 2015. Directed by Oren Peli. Screenplay by Christopher Denham & Oren Peli.
Starring Reid Warner, Darrin Bragg, Ben Rovner, Jelena Nik, Roy Abramsohn, Frank Novak, and Glenn Campbell. Aramid Entertainment Fund/Blumhouse Productions/IM Global/Incentive Filmed Entertainment/Room 101.
Rated R. 91 minutes.
Horror/Sci-Fi/Thriller


★★
medium_71e0d124fd41c0aee70ba256dd60cd00-areaRight back to the supposed McPherson Tape, later given a bigger budget and made as Alien Abduction: Incident in Lake County, there have been plenty of found footage films dealing with alien encounters. We’ve also got Jason Eisner’s segment from V/H/S 2, the 2014 film Alien Abduction, then there’s Apollo 18 with a bit of pseudo-revisionist history. There are more, but I won’t ramble on into the night about every last one.
Area 51 is not necessarily the same as the others. Right from the beginning, not many films involve the actual infiltration, or attempted infiltration, of Area 51. There are some, but not a great many. Plenty of mentions, though, in film and television about Roswell, New Mexico, Area 51, and areas around Nevada. In some respects, Oren Peli’s latest film is much different than anything else. At other times there’s nothing different at all. Mixed bag mostly.
Peli is someone I’ve enjoyed far more as a producer than director. His two films as director, Area 51 and Paranormal Activity, aren’t that much different than one another except for the fact they’re completely different settings. Mostly I like that he produced the three Insidious movies, The Lords of Salem, as well as both Chernobyl Diaries and The Bay of which I’m a fan despite what others might think of them. With this film – originally completed around 2009 or so and unreleased until 2015 – Peli doesn’t do much else other than try to show new ways of incorporating found footage, techniques which aren’t necessarily fresh or innovative but above all else just fun to look at.
area-51Three friends – Reid (Reid Warner), Darren (Darrin Bragg), and Ben (Ben Rovner) – head to a huge a party. There, Darren and Ben lose track of Reid briefly. They see him staring into the sky. Later, they find him again in the road – quiet, but fine.
Three months later, Reid has planned a trip for them: to Vegas. Or, more so Area 51.
Once on their journey, they meet with Jelena (Jelena Nik) whose father worked in the base for a time before getting fired for prodding into things too far; he later committed suicide. The four head out to try and make it onto the legendary base.
However, once they arrive and start to move further and further inside, they come to understand perhaps it’s better off the American Government keeps their findings under wraps.
area-51-greenAn aspect of Area 51 I really did enjoy was the plot of how they managed to snag the old guy’s ID and the bottle of his cologne in case they required any fingerprints. That was pretty slick! While I think once inside there’s a lot of lapse of judgement on the part of the writing, in turn affecting the characters, much of what I liked about the movie was its build-up and the first half where it’s almost more like a thriller than anything. We’ve seen plenty of this type of stuff in other movies, I dig that Peli injects the found footage into something with which we’re familiar.
Another extremely fun part were the effects. I think, despite of how mediocre I found its scares, Peli’s Paranormal Activity at the least introduced the movie industry to new aspects found footage could carry: such as special effects. In this film, Peli takes that on to different levels. SPOILERS AHEAD!
Once Darren, Jelena, and Reid enter the Area 51 facility, there are a host of interesting effects the movie introduces. The alien technology this trio comes across is impressive. I totally loved the small, smooth craft Reid gets into; from the outside it’s almost a big oval, an egg-like structure, inside Reid is soundproofed yet the whole ship is transparent. Honestly, regardless whether you like the movie overall or not, I can’t see how you wouldn’t enjoy these moments. Seeing special effects with the found footage done well, such as they are in this case, is a treat for me because it isn’t often we get to see that in other movies.
vlcsnap-2015-05-15-08h55m14s100 vlcsnap-2015-05-15-08h55m27s217There’s a genuine creepshow of a sequence after Jelena and Reid end up in a tunnel system underneath the Area 51 facility itself. In these few scenes, Peli brings us back to straight horror filmmaking. Not in a bad sense. There’s the obligatory slow shots of the camera, light shining, moving through the darkness, but a sense of real tension is happening. I’d honestly expected, after Darren has a quick run-in with the facility security, the finale of the film was going to be an extremely big, loud chase sequence, and the effects would come fast, barely noticeable, and the film would go out on a bang. Instead, the screenplay slows things down in pace for awhile. We get these very quiet bits before the REAL chase gets on. Then we switch back to see how Darren is doing, there we get the big chase, the loud sound design, alarms, and so on. Not a bad thing, however, I thought Peli might’ve done well to keep with the subtlety through to the end and create a more effective scare for the audience. Sadly, what was built up loses its steam with a big shift between Darren/Jelena and Reid. Peli should’ve left Darren and his situation unknown, it’d be more unsettling that way instead of spelling ever last thing out visually for us. Keeping with Jelena and Reid could have created an insanely tight tension that would not let up until the finish. It still has suspense and it keeps you on edge, no doubt there, but I don’t think it reached what it could have been with more focus.
That being said, I found the final ten minutes – in regards to scenes involving Jelena and Reid – pretty damn spectacular at times. SPOILERS AHEAD! When the two of them appear to abducted there’s an amazing scene/series of shots, as they’re sort of lifted up inside this white space, no gravity, and the camera gets sucked out of a tube only to fall down to the ground. BONUS – if you watch until after the credits, which you should as respect to all the various artists who work on a film (not to be a dick but I have many friends in the industry + I’m an aspiring screenwriter so it’s always nice to spend an extra couple minutes watching them), there is a POST-CREDITS SCENE. Pretty nice little add-on.
Only for the fact that this scene may negate the found footage aspect. An old man – the same one poking around the group’s vehicle earlier in the film – finds the camera Reid dropped in his abduction, or whatever you’d like to officially call it. So my only beef is: how did the footage get “found” then? It seemed to me like this old guy was a part of the conspiracy, in some way. Perhaps I’m wrong and he was another intrigued mind, maybe the reality is he came across the tape while trying to find his own evidence of some sort. Then it’s VERY clear how the footage made it out. So I can’t knock Peli for this last bit, as I’m not sure how exactly it was intended to play off. I’d like to believe the old man was another person prodding around for tangible proof of Area 51 and its contents, just as Reid and his friends; the knocking on their door in that one scene would then be seen as him probably warning them, attempting to steer them off a course of danger.
vlcsnap-2015-05-15-08h55m56s2 area51-quepasaI don’t think Area 51 is anything special, but it’s also not as terrible as some seem to be making it out to be, as if there aren’t worse instances of both aliens/Area 51 and found footage out there (which there most certainly are).
Overall, it’s about a 2 out of 5 star film. The build-up is marred by too much jumping back and forth in the finale. Oren Peli instead tries to lean hard on the exposition, spelling out the fate of each and every character perfectly without leaving any sort of room for imagination. This isn’t always bad – you don’t have to NOT answer questions to be a good film. But Peli is too heavy handed, and any of the mystery he’d cultivated throughout the first three quarters of Area 51 disappears over the closing fifteen minutes. There are a few great scenes, honestly, from scares to interesting uses of the found footage sub-genre. The acting isn’t awful, but it’s by no means anything to write home about. Especially in the finale of the film, all the emotions and intensity of those scenes could’ve come off WAY BETTER if the actors pulled their weight, or in turn if the actors were replaced with better actors.
I’m not even that big on Paranormal Activity, other than the fact it was slightly innovative for found footage, but I’d absolutely recommend seeing that one over this directorial effort from Peli. See this if you’re looking to burn off an hour and a half. Plus, you might enjoy a few of the special effects the way I did. Who knows; stranger things have happened.

PRESERVATION is All About Female Survival

Preservation. 2015. Directed & Written by Christopher Denham.
Starring Wrenn Schmidt, Aaron Staton, and Pablo Schreiber. The Orchard. Not Rated. 90 minutes.
Horror/Thriller

★★★
Preservation-2014-movie-poster
I’m a fan of the survival thriller sub-genre, whether it’s something strictly thriller based, or a film that’s a little more horror oriented. I’ve enjoyed films like Southern Comfort, the classic Deliverance, and even horror survival movies such as the 1981 cult classic Just Before Dawn and more recently Eden Lake. Preservation is a pretty good little movie, but fails to reach the heights of the movies I’ve previously mentioned. Christopher Denham (most of you will remember him from various projects as an actor like The BayArgo, a small role on The Following, and the excellent sci-fi indie Sound of My Voice) did a really great job directing his first film in 2008 – a found footage horror called Home Movie about one family’s harrowing path to madness. I really loved that movie/own it. While I do enjoy Preservation, and think there are several awesome aspects to it, I don’t enjoy it near as much as his previous effort.

This movie tells the story of Mike Neary (Aaron Staton – most recognizable as the face of the video game L.A Noire) and his wife Wit Neary (Wrenn Schmidt), along with Mike’s brother Sean (Pablo Schreiber – the well-known Porn Stache from Orange is the New Black), who take a camping trip together out into the great outdoors. Mike and Wit are having some intimacy issues, as his job seems to be coming before their relationship – not to mention the fact that early on we see Wit is hiding a possible pregnancy from her husband. Further than that, Mike’s brother Sean has recently come home on leave from the army. Or at least that’s what he first told Sean. Once in the woods, things start to change.
After they go to sleep on their first night out, the three of them wake up: all their belongings have vanished, including Sean’s loyal dog, and each of the three have a large X marked on their forehead with marker. From there things become a gripping story of survival, as Mike, Sean, and Wit have to defend themselves against unseen assailants hiding amongst the trees of the forest.
PRESERVATIONAREADENHAMFEATThere were a few surprising moments throughout the film. I wasn’t totally shocked or anything – the kills weren’t particularly gruesome. At least not for someone like myself who watches a ton of horror, and I do mean a ton. Too much even. I’m not totally desensitized. Some say they are, but that’s too bad for them. I still have fun and get excited and get freaked out at the movies. Preservation didn’t really have any awful kills. Though, they were done well, I must say. I liked the tension mostly. Denham did a great job at drawing out the suspense and really grinding on the tense moments. One specific scene I really enjoyed was when Mike gets trapped for a few minutes in a portable outhouse – I thought the tension was thick as hell here. Really good stuff. Being a horror hound, I would’ve enjoyed more raw kills here. This was a good movie, decent enough, but could have definitely turned things up a notch with a bit more gore. Maybe. Maybe not, as well. There was just something missing along with all the tension Denham managed to work into the movie.

One thing I did enjoy was the character of Wit. Past here, we’re getting into SPOILER TERRITORY, so please – if you don’t want to get the movie spoiled you should turn back now!
preservationfeatI think Wit’s whole situation, involving the initially hidden pregnancy, really played into the whole plot and helped her character stay very interesting. Personally, I found the aspect of her not being able to shoot an animal and then having to face off against real human killers a little tired. This sort of angle has been played out far too many times. What I really did enjoy about Wit was the fact she was about to become a mother. I think once we discover these are just kids hunting them down for, basically, a laugh, it really becomes something much more intense for Wit particularly. She has just discovered awhile ago that motherhood is upon her. Now, all of a sudden, these kids are reigning terror upon her life. I mean – if that’s not birth control food for thought, then what is? This angle of the plot was really interesting for me, and fresh. We’ve seen the kid killer thing, even the pregnancy plot, but combining the two worked here. Not exactly unique or wholly fresh material. Just executed nicely.

This is a pretty good little thriller with a bit of horror thrown in. I would mostly call this a thriller. Definitely a psychological aspect. There are a couple really good performances. All three of the main characters are pretty excellent. Though, Pablo Schreiber doesn’t have a huge part I really did enjoy him here. Usually he seems to be pigeonholed into playing the creepy jerk, or the weirdo, the psychopath, whatever – here, he does a great job at playing an outsider type character, but essentially a good guy. He has some acting chops, I’ve always thought that since first seeing him. Aaron Staton is pretty good here, as well. Mostly, though, it is the Wrenn Schmidt show in Preservation. She plays a complex female character who isn’t perfect, who gets the hell beat out of her, and who has to do things no expecting mother would ever want to have to do – and she comes out of it a whole different kind of lady. I loved her performance. This was definitely the shining point.
One other thing worth mentioning before I clue things up – the score is a real treat, and I couldn’t get enough of it. Really added a nice element to the entire film. I’d actually enjoy having it as a standalone soundtrack. Great work.
Preserve_KM_102313_677All in all, this is about a 3 out of 5 star film. I didn’t think it was amazing, but I’ve absolutely seen other movies in the same sub-genre that didn’t satisfy me near as much. Christopher Denham is a pretty good horror director. I’ve enjoyed a lot of his acting – Sound of My Voice is probably his best work in that sense. I do prefer Home Movie over this, although I’d absolutely, and will absolutely, watch this again. This goes recommended for people who enjoy the sub-genre. If not, you may walk away from this less than thrilled. For the fans I don’t think you’ll be disappointed. Just don’t expect Denham to have reinvented the wheel on this one. Plus, it’s one of the rare modern survival thrillers where you don’t have to watch a woman get sexually assaulted, or have the implications of such things happening off screen – nowhere to be found here. Personally I don’t shy away from something just because of such things, but I do hate movies that use it as a silly exploitation move. Luckily, Denham does no such thing. Sit back, watch a bit of thrilling fun. Might not be the best of the sub-genre, though, it beats some of the lesser titles to death.