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.
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.