Woodrue cuts into Swampy while Cassidy accepts his fate as the Blue Devil.
FX’s American Horror Story
Season 6, Episode 2: “Chapter 2”
Directed by Michael Goi
Written by Tim Minear
* For a review of Chapter 1, click here.
* For a review of Chapter 3, click here.
Last we left Matt and Shelby Miller (Cuba Gooding Jr. & Sarah Paulson in the “dramatic re–enactment“; André Holland & Lily Rabe in the documentary-style clips), things were bad. Shelby’s lost in the woods, finding a strange torch wielding cult (including Wes Bentley) and a man whose skull has been… partially removed. The strange woman Shelby thought she’d run over chants in the darkness (Kathy Bates), a group of people surround a man having a pigtail nailed to him. Terribly creepy little cuts.
After running and running, Shelby stops a moment. Only to find more madness. “I never thought about what could be in the wilderness, hiding in the dark,” the real Shelby recounts. We see Bates’ character lead a strange ceremony involving a man put up on a cross, a pig’s head stuck on his shoulders. Shelby takes off again until passing out in the middle of the road, where Matt’s sister Lee (Angela Bassett) finds her. Of course it all sounds mad to the police and everyone else. Poor Shelby. God damn. Ultimately she too believes it’s the “mountain men” trying to drive them out of the house.
A very bad, tragic misunderstanding.
We get to see more about Lee now, she and her ex-husband Mason (Charles Malik Whitfield) exchange their daughter Flora (Saniyya Sidney) for a while. Yeah, that’s a great fucking idea. Bring a little girl into a haunted house, or at the very least a house out in the country being laid siege to by hillbillies. Anyway, things kick off real quick once Lee finds Flora talking to somebody upstairs. Who? Oh, just somebody named Priscilla. Who isn’t there. A ghost? Or something more? Lee does the smart thing and pries a bit. “She said she‘s tired of all the blood,” Flora responds when questioned about Priscilla and her bonnet. When Lee literally finds one laying around, she gets spooked.
The great thing about any haunted house film or show is that part of everything is the human, psychological drama happening. There’s Lee and her girl, as well as Matt and Shelby, everyone with their own issues, taking things in differently.
That night more pig noises come from outside. Shelby takes action and insists on tracking them down, so Matt tags along. In the dark, out amongst the trees, they get separated. As one would expect from any horror. When they find each other, they come across a large stick figure with a pig’s head on top, roasting in fire; the skin and meat hanging below dripping into the flames. “This was beyond having a cross burned on your lawn. There was something demonic about it.” the real Matt speaks through voice-over.
With a bit more evidence this time, the police reluctantly look into what’s happening around the Miller’s place. Then a phone call comes through to Matt in the night. Except the phone’s disconnected. In the shadows, he finds an apparition: mean nurses tending to an old, frail and sickly woman named Margaret (Irene Roseen). They can’t hear Matt, but he watches on as one of the nurses tells their patient “You‘ve been warned” before blowing her brains out with a revolver. Now he’s seeing terrifying things, it isn’t only Shelby anymore.This incident sets things into a frenzy. The police, as suspected, can’t find anything to backup Matt’s story. He starts questioning the integrity of his brain, literally, after the incident in the city. Problem is the cops are gradually getting less interested in helping, which isn’t all that abnormal by real world standards.
When Mason shows up for Flora, they can’t find her. It used to be a game she played with them. This time, not finding her may have something to do with the house. They find Flora in a crawlspace talking to Priscilla, who disappears quickly. Apparently Flora tried to make a trade: a doll for their lives. Seems Priscilla is homicidal. And it’s not just her. Flora warns her parents: “They‘re going to kill us all. And save me for last.” Fuck. That’s eerie. Dad hauls his daughter off and things aren’t looking any better for Lee as a mother. Especially considering she started drinking afterwards, off the wagon again. She broke a few things. Shelby’s not happy to find knives in the ceiling, although we can guess that probably wasn’t Lee. Those nurses are creeping about, too. In her drunken state Lee sees a lot of things from pigtails to pig heads and it’s one bad hangover she’s headed for in the morning.
There’s a little girl hanging around outside to boot, which sends Matt and Shelby outside. They come to a trap door with a ladder leading below ground a ways; hmm. Inside are a number of things including tapes in a camcorder. On them is a man named Dr. Elias Cunningham (Denis O’Hare). He speaks frantically saying things like “I‘m not what I am” and generally in distress over “forces that will not let me sleep.” He speaks of the house and its forces wanting to kill him. He further assures the viewer he’s not crazy. Then Cunningham tells us of his book about two nurses – Miranda and Bridget Jane. Oh yes, you guessed which nurses. Twisted bitches. They killed people with specific names to spell out MURDER. Everything got even wilder as it went on turning into one of those epic, insane tales of true crime.More craziness to set the Millers off. Peeling away wallpaper, Matt finds the unfinished word MURDE written on the wall. Everything gets more real at this point. They keep on listening to Cunningham’s rambling tape. Doesn’t help any, except to frighten the shit out of them further. Scariest yet is when the tormented doctor heads inside the house with only his camcorder, night vision on, to guide him through the silent hallways. “Show yourself,” he yells to whatever’s in the dark. Before something, someone appears and startles him. And downstairs, a butcher’s knife with blood on it is stuck in the front door.
They just wanted to leave. Not so easy, though. No getting out of that mad house. Everything amps up a notch after Lee shows up with Flora again. When she’s clearly not supposed to have here there. More of that impulsive Lee behaviour already. Her brother tries to talk sense into her. Shelby tries talking the ex-husband down from calling the cops.
But can Mason get there to take his daughter away before anything worse happens? The little girl whom I assume to be Priscilla beckons Flora to come outside, out near the trap door in the field. Then she goes missing. The adults start to search frantically.
In a clearing, Lee finds her daughter’s yellow sweater at the top of a thin, ridiculously tall tree, its trunk looking almost stained with blood. They stand below, not sure what to do next.
And what can they do?Very pumped for “Chapter 3” next week. Some people keep complaining, and I have no idea why. I love the re-enactment stuff, it adds a fun twist to the show. I’m still feeling like there’s going to be an angle to all that. Just like My Amityville Horror had its drama, My Roanoke Nightmare is going to bring something with that faux-documentary posing as a real documentary. Mark my words.
Also, did you catch Lady Gaga in her brief appearance? She shows up a couple times early on. Very unnerving look to her character. Can’t wait for more, of everything!
Megan Is Missing. 2011. Directed & Written by Michael Goi.
Starring Amber Perkins, Rachel Quinn, Dean Waite, Jael Elizabeth Steinmeyer, Kara Wang, Brittany Hingle, Carolina Sabate, April Stewart, and John K. Frazier. Trio Pictures.
Unrated. 85 minutes.
There are a ton of different found footage horror movies hitting the market in the past 5-10 years. Especially now since Paranormal Activity absolutely ran its premise dry with a bunch of sequels and spin-offs and whatever.
Sometimes it’s hard to wade through the ocean of shit that comes out from independent filmmakers trying to break into the business with a cheap, effective little horror that draws on realism to make things scary.
Problem is, there are certain filmmakers who end up just crossing over from realism into exploitation. They take a subject that could be effective if they were to do it as a normal film, and instead create something that crosses the borders of where it needs to go and where it really ends up going.
Megan Is Missing most definitely is one of the films that becomes exploitative instead of being properly scary. There’s no real suspense or tension here, it feels like everything is just being milked for all its worth – especially the sexualization of these teen characters. Supposedly based on a true story, Michael Goi takes on the guise of trying “warn of the dangers on the internet”, as if that needs to be harped on any more than we’ve already seen before. What bothers me is that part about being based on/inspired by a true story. There is very little here based on the true story; I won’t waste my time explaining, but search out the case of Ward Weaver III who murdered two young girls. They met a similar fate to the girls in this film. Apart from that tiny detail, mostly at the end of the movie, there’s nothing else resembling the two. So much of what Goi does is a desperate attempt to make the story found footage, which is never good because the whole concept is forced in and this whole thing could’ve been much more interesting crime-drama/thriller than a sub-genre horror film.
Most of this movie revolves around a fear of internet predators. Now, don’t get me wrong – they are out there. By the hundreds of thousands, even. Maybe more. I just feel like Goi, as a writer/director, has exploited that whole angle of things. I mean, linking this to a ‘real story’ feels to me a desperate plea in order to involve people in the supposed realism of this found footage film.
There are scenes where girls are at a party, making out, there’s a blowjob performed by Megan (Rachel Quinn). Then in another scene, Megan recounts in great detail how she gave her first one at the age of ten, to a camp counsellor; she and her friend Amy (Amber Perkins) giggle and Amy asks questions. I mean, I’m not saying movies can’t be made about teenage sexual issues. Not at all. I just feel like this is totally making the essence of the film seeing how these girls, mostly the character of Megan, are young, sexual women ahead of their time. It focuses so much on the sexuality of these girls that I’m actually disgusted. Again, not saying these types of people don’t exist. It’s just ridiculous how much of a focus Goi hones in on the aspects of her sexuality.
Worst example: even as Megan is on the news reported missing, one of the photos onscreen is of her, tongue out, licking a butter knife full of peanut butter. I mean – really, Goi? Why even include that one? Constantly painting the character of Megan as “slutty”. It’s like a bit slut shaming the whole time. Then, it’s as if her friend Amy is a victim of her own friend’s perceived “sluttiness”. I couldn’t handle it. I thought the way Goi wrote/handled the material as director was just so bad and shameful.
There’s absolutely a way that Megan Is Missing could have been an effective horror. Or even as I said, this could’ve played out just as well/way better if it were filmed as a normal movie, not found footage, and played as a crime-drama with thriller elements. I mean, it could’ve even had a Gone Girl-esque vibe in terms of the whole disappearance in Fincher’s film – there could be built, with a tweaked script, a solid movie out of what Goi had in mind.
Unfortunately somewhere along the line Goi’s intentions were mixed and the lines crossed. It’s like he wanted to make this as a part of wanting to add commentary to a found footage horror. Instead, he began to focus too much on the overt sexuality of the character Megan, he pushes too much then – especially in the final 20 minutes or so – to make things totally exploitative. There could’ve easily been culled a good deal of tension, lots of suspense and dread, however, there’s none of that.
All we get in terms of horror is a shocking finale. Really, it’s just too much. I’ve seen plenty of disturbing movies. This is not one of those that works in an effective sense. Just a load of flashy shock horror trying to lull us into calling this some sort of good horror movie. It isn’t.
I can only give this movie about 1 star. There are elements to this which I thought worked, but only a couple. For instance, I think Amber Perkins did a swell job acting the part of Megan’s friend Amy Herman. It was a tough role and she did what she could with it; not a great script, or dialogue, yet she pulls off the little part of the film she could. Other than that, nothing worth seeing. The barrel shock sort of got me, it’s disturbing, but ultimately there is no substance at all. No style either.
A forgettable, rotten movie that I’ll never ever watch again.