Behold! Creepy puppets. Nazi spies. Suicide, murder, psychics. And so much more.
The predecessor to FINAL DESTINATION. An influence on IT FOLLOWS. This '80s flick is a forgotten gem.
Anything Richard Matheson-related is enjoyable. Climb on into one hell of a scary story.
Solace. 2015. Directed by Afonso Poyart. Screenplay by Sean Bailey & Ted Griffin.
Starring Anthony Hopkins, Jeffrey Dean Morgan, Abbie Cornish, Colin Farrell, Marley Shelton, Janine Turner, Xander Berkeley, Kenny Johnson, Sharon Lawrence, Autumn Dial, Matt Gerald, Jose Pablo Cantillo, Joshua Close, & Angela Kerecz. Eden Rock Media/FilmNation Entertainment/Flynn Picture Company/New Line Cinema/Silver Reel/Supersensory/Venture Forth.
Rated R. 101 minutes.
Apparently this film was originally meant to be a sequel to David Fincher’s fabulous, dark masterpiece of gritty crime cinema, Se7en. However, the angle was to have Detective Somerset return, now having gained psychic powers? Naturally it was a case of Fincher being pissed that sent the producers in another direction, having it rewritten then turned into Solace now as we know it. While that idea of a sequel was terribly misguided, the premise of this film is, of course, different in respect to characters. We’ve still got the psychic element yet it works here, as the way director Afonso Poyart presents the material comes off fairly slick, full of darkness and edgy, as well as smart at times. So the slightly supernatural element takes a backseat to a lot of the human drama and the dark nature of the crimes involved in the story.
This is most certainly not near as good as Fincher’s film. Although, it is definitely worth watching. Not only is there an interesting story and plot to Solace, the acting talents of Anthony Hopkins, Abbie Cornish, Jeffrey Dean Morgan and Colin Farrell make everything seem better. In particular, Hopkins adds an air of authenticity to a character I personally might usually find boring, cliche, and he’s one of the reasons I found this movie more compelling than I’d imagined going in. With a few flaws, Solace still proves to be a good crime mystery. It even has a few gritty, rough edges to give it a morbidly interesting shine.
Dr. John Clancy (Anthony Hopkins) is clairvoyant. He sees the pasts of others, as well as some of their future, in bits and pieces. For two years after the tragic death of his daughter John lived in isolation. But when an elusive serial killer named Charles Ambrose (Colin Farrell) challenges the FBI in a cat-and-mouse chase, Agent Joe Merriweather (Jeffrey Dean Morgan) enlist the help of Clancy to try and track him down. Coupled with Agent Katherine Cowles (Abbie Cornish), specializing in psychology, they try to use John’s psychic abilities to their advantage; even if Katherine isn’t a believer right away.
But once John starts to realize Ambrose has powers of premonition as well, and they’re much stronger than his own, the game changes. From one end of the city to another, John and the FBI search to find Ambrose before people continue to die, each crime more gruesome than the last.
The visual style of Solace is one of the major reasons I enjoyed it so much. Not every bit of story, every plot point is going to impress people, but I can assure you the atmospheric quality of many scenes in the film are what will draw your attention. Not only are the lighting and colour scheme successful in making the film look dark, moody, there are several amazing dreamy sequences that blow me away. For instance, Clancy sees his visions and they take on this dream-like tone, which gives the movie flair. Some are like slideshows, similar to how thoughts would pass through a mind. Others, such as when they end up finding a dumpster with evidence in it, are so well edited they take on that dreamy element and whisk us away into the thoughts of Clancy. Then there are the moments where he touches people, their futures flashing in postcard images across his brain; some of those are beautiful, some violent, scary.
The standout portions of Solace, aside from the visuals, the mood and tone, absolutely come from the performances of Colin Farrell and Anthony Hopkins. With Farrell there’s always an intensity he is able to bring, when he wants anyways. Here it is evident, as his character is both dark and charismatic; a terrible human being wrapped in an enigmatic type of man. Just the brooding look of Farrell at times is enough, he can put the screws on fairly easily for this type of character. The other great part is that Hopkins lends an air of authenticity to an otherwise unrealistic character, as well as the fact he and Farrell have an intriguing chemistry between them. The quiet power of Hopkins comes out in nearly every scene where we see him, even a couple points where he’s pretty hilarious, and a moment with Abbie Cornish where he’s actually mean (though for good reason). With Farrell and his darkness, Hopkins provides a nice counterpoint, and there are also further ways these two characters parallel one another. This would’ve been a truly mediocre film if neither of these actors were cast, so thankfully, no matter how you enjoy the plot, we’ve at least got the pleasure of seeing Hopkins and Farrell in this picture. Their absence would’ve made this movie entirely all style with no substance.
This was a 4 star film for me. It could have definitely been tightened up in a few places, in regards to the screenplay. But what Solace lacks in the writing it surely makes up for through its morbid atmosphere, great score and soundtrack, and absolutely in the performances of both Colin Farrell and Anthony Hopkins (wait until the end when you see the latter’s character deepen right before the finish). This totally surprised me, as I’d been preparing myself for a bad movie with some great acting talent in it. Give this the time of day it deserves. Don’t try and look for another Se7en. You won’t find it. Solace is its own film and within you’ll discover a couple treasures and treats along the way – perhaps you’ll even come across some ruminations on life, death, love, and euthanasia. Or maybe not. You be the judge.
Halloween V: The Revenge of Michael Myers. 1989. Directed by Dominique Othenin-Girard. Screenplay by Shem Bitterman/Dominique Othenin-Girard/Michael Jacobs.
Starring Donald Pleasence, Danielle Harris, Ellie Cornell, Beau Starr, Jeffrey Landman, Tamara Glynn, Donald L. Shanks, Jonathan Chapin, Matthew Walker, Wendy Foxworth, Betty Carvalho, Troy Evans and Frankie Como. Magnum Pictures Inc./The Return of Myers/Trancas International Films. Rated R. 96 minutes.
The Halloween series gets worse after the 4th installment, even lots of people might say that was a bust. Me, I enjoyed it. Starting with this film, Halloween V: The Revenge of Michael Myers, the brutal psychopath reality of Myers himself began to be diluted. Though I love the connection between Michael and his niece Jamie, the writers tried to go too far into the supernatural aspect of Myers – he always had a sort of inhuman, or superhuman quality about him, but it was best left a mystery like in the original; he was pure evil.
With this sequel, the series starts on a long descent into obscurity. Though, I did love the remake and partly enjoyed its sequel from Rob Zombie, even if many hated it and loathe him for even touching Halloween. But as far as the original series itself goes, after this one it gets pretty bad, embarrassing almost. This movie doesn’t have full coherence at its side. That being said, I do love the suspense and tension still present in Michael’s character, his lurking and his casual sneak behind the scenes unnoticed. And it’s always nice to see Dr. Loomis, no matter how cranky a bastard he may be after all these years hunting evil.
One year following the events of Halloween IV, Michael Myers (Donald L. Shanks) has survived the shootings of the previous year’s Halloween night. Little Jamie Lloyd (Danielle Harris) has gone mute after attacking her own stepmother. She’s confined to a children’s hospital, treated for her psychological trauma. It becomes apparent to Dr. Samuel Loomis (Donald Pleasence) that Jamie is exhibiting a type of connection, a mental link with her uncle Michael. As the psychotic slasher kills his way back to try and finally kill his niece, Loomis and the other Haddonfield residents try to band together in order to safeguard the lives of those who matter most from walking evil.
But as he’s so often proved before, nothing seems a match for Michael Myers. He is the living, breathing, walking presence of death. He will have what he wants.
Michael Myers is a feral, savage beast. He coldly kills the man who looked after him once collapsing after coming out of the river. Not that I expected any less, but still – cold blooded. Starting with the previous film, Halloween IV, Michael already started to exhibit pretty harsh, violent strength. From the beginning with Carpenter he was always an unnaturally strong slasher, but in the last movie the savagery of his kills began amping up. There was already the thumb through a guy’s forehead. Here, it isn’t only the intensity of the kills themselves, there’s an even worse sense of Michael’s vicious nature coming out. He’s becoming a worse evil than ever imagined, if that’s entirely possible. So, one of the positive things I can say about this sequel is the fact Michael sort of changes, at least in a slight sense, as a horror movie slasher. Okay – it’s not huge literary character development. Could be worse, though.
Then there are some excellent little sequences full of fear. For instance, when Jamie (Harris) is running through the hospital, thinking uncle Michael is right on her tail and trying to kill her, there’s a good deal of suspense and the heart gets pumping. Of course she’s only imagining it, and the big jump comes as you almost expect Michael to be there. Instead it’s a maintenance man, a nurse behind him, each looking for Jamie. I thought that was a solid scene, subverted expectations.
Another scene I liked is when Tina (Wendy Foxworth) goes out to the car, expecting her boyfriend Mikey (Jonathan Chapin), only unbeknownst to her it’s actually Mikey Myers in the mask she bought – it was super tense, I honestly didn’t know how the scene was going to go and I constantly feared for Tina’s life, every step of the way. Really effective few moments, even tied up with Jamie and her strange psychic connection with Michael, because there are moments cutting to and from Jamie/Tina which make it all the more nervous for the audience.
On top of that, I do like the Thorn Cult people prowling around. Adds something extra. While I’m not a fan of the supernatural-ish angle happening, their presence is definitely creepy. Seeing one of them walk out after Loomis heads downstairs in the old Myers house, another passes out onto the street in another shot between the Jamie/Tina ordeal – I find it dark and foreboding. I guess the positive aspect of this, what I’m trying to get at is, that if Myers and his story has to be continued with these sequels, it’s at least interesting the writers tried to conjure up a backstory with more depth than originally intended. Not saying it’s better than just the faceless slasher, the mysterious psychopath. But if it’s got to be kept going, at least make it interesting and a little fresh.
An important aspect of this movie is the fact Danielle Harris was a great actress at such a young age. Even with the silliness of the psychic link between her character and Michael, she did a wonderful job. The fact Jamie was mute for the first half of the film made for some interesting acting, which I enjoy to the fullest. She brings across the struggling, traumatized little girl in Jamie so well. I still find Harris to be a quality actress, even a good director now, even if the films she acts in aren’t always the best. At an early age, Harris was able to prove herself and add something interesting to Halloween V in a slightly bland sequel.
Aside from Harris’ performance and the handful of creepy scenes, there’s not a whole lot else going on. The kills are decent here and that gives the movie something else to rely on. Most of the acting holds up, but it’s really Harris and Donald Pleasence – of course – who hold up that end of the bargain. If the writers hadn’t leaned into the psychic connection it may have been better: the whole cult thing was cool, it just should’ve been turned into something different other than what it later became in further sequels; I always imagined it cool if a cult began to worship Michael instead of what started to happen after this movie. I love all the Jamie-Michael stuff, but it wasn’t best served being turned into a supernatural thriller style plot device.
I can’t rate this Halloween installment any lower than 3.5 out of 5 stars. It is nowhere near any of the best this series has to offer. Still, though, I think there are some good moments of suspense, lots of tense scenes. Instead of jump scares this film relies on a nice performance from Danielle Harris, the return of Donald Pleasence as Dr. Loomis, as well as a slow pace. If the story were better I could’ve definitely given this a half star (or more) extra. However, the plot in this movie begins to make the series get silly and bad as the sequels push on. Either way I don’t feel this movie deserves the hate it gets, nor is it a masterpiece. It’s just a fun sequel despite its flaws.
The Innkeepers. 2011. Directed & Written by Ti West.
Starring Sara Paxton, Pat Healy, Kelly McGillis, Alison Bartlett, Jake Ryan, Brenda Cooney, George Riddle, John Speredakos, and Lena Dunham. Glass Eye Pix.
Rated R. 101 minutes.
Every time I’ve got a particular bias going into a review, one that I can recognize, I always like to take a moment to recognize that. Such is the case with myself and Ti West. I love his work, even when others tell me personally they don’t like a movie of his I can’t help but find myself thinking “Why the hell not?”. I just love his movies. Years ago I got the chance to see The Roost, which I thought was a clever genre film and a gnarly creature feature horror movie. After that I had him on my radar, then as soon as I’d seen that out he came with The House of the Devil, and that one floored me; an overall amazing aesthetic, harkening back to the best of the 1980s, this is a slow burn horror with that Satanic Panic edge. After that I secured a copy of Trigger Man and, while much different than his other films, I enjoyed it. Even later, after he did this movie, his segment in the first V/H/S was probably my favourite – “Second Honeymoon” – his “M is for Miscarriage” out of The ABCs of Death was a saucy piece of raw, reality driven horror. Perhaps my favourite of all his work, The Sacrament is an obvious re-telling of the Jonestown Massacre yet using found footage and the VICE News name he makes it into so much more, something visceral and savage.
So, have you got an understanding of how much I’m a fan of Ti West? Maybe that paints my view of The Innkeepers a little too subjectively. Who knows. Either way, I think this is a fun little ghost story in a spooky location. It’s got a good atmosphere, something to which West is no stranger at pulling together. As well as the fact Pat Healy and Sara Paxton give good performances which are effective and at the same time quirky, but not so quirky you want to roll the eyes out of the back of your head. This film has charm, darkness, and even a few good old fashioned horror jump scares.
In the last few days before the Yankee Pedlar Inn closes down forever, two employees – Claire (Sara Paxton) and Luke (Pat Healy) – attempt to find evidence of the ghost of a woman named Madeline O’Malley (Brenda Cooney) who supposedly haunts the halls. They’re amateur ghost hunters; Luke runs a website about Pedlar’s apparent hauntings, Claire just dropped out of college.
As the last few guests arrive for a stay at the Pedlar, Claire in particular gets closer and closer to the spirit of Madeline, whose story is a sad one; how and why she ended up trapped at the hotel in the afterlife. But once Claire gets a little too close, things may change – and definitely for the worse.
One unique little scene/shot I love is when Claire (Paxton) is using the recording equipment. The first moment is so cool, as the camera tracks along as if on a soundwave, moving slowly around almost wandering. The music and everything make this a creepy little bit, even with nothing creepy happening. I think this is the first scene where Ti West begins to set up a definitive atmosphere and tone for the scarier bits of the film.
The music gives way to more of a silence, a dim hum, some static, while watching Claire listening in another room than the one previous. This also leads into Claire discovering a presence in the big dining room, a piano playing softly amongst the hum of the static in her headphones. Nice little scene following her as she finds the piano itself around the lobby and watches it play by itself. Or rather it bangs the keys by itself. Spooky and an effective jump scare.
Really dig the score for The Innkeepers. Sure enough, when I looked up the composer it was Jeff Grace. For those who may not know, Grace has worked on some incredible stuff. Most recently he’s composed scores for Jim Mickle’s Cold in July and We Are What We Are, Night Moves, Mickle’s Stake Land, Meek’s Cutoff. Then he’s done other probably lesser known films – though they ought to be more recognized – such as Bitter Feast, The House of the Devil, The Last Winter, Joshua, and another of Ti West’s again The Roost.
Part of any great horror, in my opinion, is a solid score to help with the atmosphere. Grace’s excellent music feels very haunted house worthy. This is, essentially, a haunted house horror movie. Instead of a house, we’re getting the Yankee Pedlar Inn, which is just as creepy in the end. Grace does a good job with ambient noise, strings, and some electronic sounds in aiding the direction of West to supply a nice feeling from start to finish. At times it grabs us, gripping hold and not letting go, other times it lulls us into a spooky mood or a false sense of security before a nice scare; proper horror score.
Aside from the lead characters played by Healy and Paxton, I couldn’t get enough of the fact West included Kelly McGillis in the cast. What a wonderful surprise. Most known for her work in the ’80s like Witness, Top Gun, and The Accused, in the past few years she’s been a part of the indie horror revival. Particularly, after being cast in Stake Land by Jim Mickle, McGillis put in a performance here, as well as in the remake of We Are What We Are again from Mickle. So I love that she’s been a part of these films. She adds a great air of authenticity, I’m not sure what it is, but there’s an elegant quality to her; no matter the character. One of those classy older women with a lot of grace, at the same time there’s something sassy and fun about her, too. Here her turn as an actress turned psychic is a good show, wonderful addition and she works great opposite Paxton.
Which leads me to Pat Healy and Sara Paxton. They’ve got real good chemistry in their scenes, reminding me of employee-employee relationships I’ve had at jobs in the past. What I love is that they aren’t two characters of the same age, like two young people. Having the character of Luke (Healy) as a bit of an older guy compared to Claire (Paxton) made for a more interesting relationship between the two, in opposition to so many horror movies featuring all young, teenage-ish characters with the same attitudes, same inflections in their voice, same problems and lives. Not saying it’s some revolutionary tactic, but I do think it was a smart writing move on the part of West, who could’ve easily strayed into complete typicalness. Rather, here he gives us two fun, weird characters who’ve got an equally fun, weird relationship.
Paxton is my favourite, though. Because so often horror movies have characters that do not feel real. Claire, on the other hand, feels real to me, she’s a new college dropout, she works at an old school hotel that’s shutting down after one last weekend. There’s a sort of angst built up inside Claire that I understand; a lot of people could understand her. Yet she isn’t some snotty young girl or anything, merely she gives me that sense of being a woman who is straddling the edge of being young – a woman, maybe not totally prepared to become one.
Most likely the greatest part of The Innkeepers is how Ti West shot it on film. I mean, I don’t have anything against digital, not in the slightest. That being said, there’s something to be said for movies still shot on film. There’s a depth to it, perhaps that’s the best way I can describe it – a fullness – that isn’t always present when shooting on digital. I don’t know, I could be talking out my ass. My love for the look of film has to do with a richness, a broader spectrum of what it can capture. This provides West the opportunity here to frame so many wonderful shots and catch every last bit of it in lush, dark detail. Makes a haunted house horror movie creepier. Honestly, I think that’s part of why so many found footage horrors ultimately fall flat is because on digital the exposure issues end up blocking out so much of a frame that, at times, this renders much of what’s in the frame not as creepy as it might have been had the movie been shot with film. With this movie, it helps West insisted on using film because there are a lot of wonderfully constructed shots here which pull their style from out of every corner of the frame.
I think some of the complaints about The Innkeepers seem to revolve around the fact there’s not a HUGE amount of ghost activity or full-on horror. However, I’d say to those detractors that it isn’t mean to be that sort of film. If you want that type of haunted house horror, stick with even something more like Insidious – West works more here at mood and tone than anything else, and I think that’s totally fine. There are most CERTAINLY a few classic horror movie scares, both of the jumpy variety and real tense, suspenseful moments. They don’t come in spades, it’s a slow burn film. Regardless, to me the all-out scary stuff here pays off because West does a good job slowly cultivating a spooky atmosphere.
With a slow and deliberate style – aided by great editing – a creepy backstory that isn’t served up for us like a prequel within the movie itself but rather alluded to appropriately, and good writing/directing, Ti West’s The Innkeepers is a pretty solid haunted house horror. 4.5 out of 5 stars on this one, all the way. Again, as I started out in this review, I could be biased towards West and his films because I’m such a hardcore fan of his. I don’t think so, though, because there’s just something special about his filmmaking to me. He has old school sensibilities while also bringing a modern, fresh edge to his subjects at the same time.
If you haven’t yet seen anything by West, I suggest starting with The Roost if you can find a DVD copy; worth it. Afterwards, move on to this, The House of the Devil, The Sacrament, and see if there’s anything about him you’ll agree with me on. I know others who feel he’s decent but nothing special. Me? I think he’s one of the new hopes for horror cinema and genre filmmaking, right alongside Adam Wingard (The Guest, You’re Next, A Horrible Way to Die).
The Last Broadcast. 1998. Directed & Written by Stefan Avalos and Lance Weiler.
Starring David Beard, Jim Seward, Stefan Avalos, Lance Weiler, Rein Clabbers, Michele Pulaski, and Tom Brunt.
Unrated. 86 minutes.
Ever since I’d first seen The Last Broadcast a little over ten years ago, I’ve been conflicted by the film. Unlike so many failed fake documentary styled found footage horror movies these days, I find that The Last Broadcast genuinely culls the air of being real for a lot of the time. Long before stuff like Grave Encounters, Stefan Avalos and Lance Weiler came up with an interesting little faux doc about a paranormal style show. What I find so good in this sense about this movie is that their show really feels real, it has that old school internet show feel to it; the acting is slightly stale, but in a way that they make the Fact or Fiction show feel like it’s these two dudes just filming things out on their own, beyond low budget. So that’s one of the things I do truly enjoy about this movie.
However, in the finale, the last act, Avalos and Weiler completely let this movie go off the rails. Personally, I was so into what was happening and I’d hoped that ultimately the explanation of what was being attributed to the Jersey Devil might end up being either unexplainable or just straight up supernatural. Instead, the creepiness and suspense, all the tension Avalas and Weiler built up for the first half to three-quarters of the film is squandered by a flimsy and awful climax, which does nothing but frustrate me.
While there are some excellent bits to The Last Broadcast, it’s hard to ignore how terribly fumbled the ending came out and it leaves a stain on everything else the filmmakers had tried to do up until that tipping point. At least this movie has something to boast about – it’s the first film to be filmed, edited, and screened entirely digital; no film was involved. While I’m a huge fan of film, I do enjoy digital in certain ways, so if anything this movie can say it pioneered new ways to make extremely low budget horror. Even if the movie shits the bed just as it could’ve turned into something spectacular.
The Last Broadcast tells the story of two local access cable filmmakers – Steven (Stefan Avalos) and Locus (Lance Weiler) – whose Fact or Fiction television show leads them around to various places in search of supernatural and ghostly entities. In a hunt for the legend of the Jersey Devil, Steve and Locus hire an assistant to help them – Jim Suerd (Jim Seward) is a self-styled psychic of sorts. They also plan to stream things on the internet through IRC, over radio, all sorts of things, and they’re armed with tons upon tons of equipment.
After heading into the woods, things begin to get more and more intense until finally only Suerd emerges from the woods, the other two disappeared. Suerd becomes the number one suspect. At the same time, a filmmaker named David Leigh (David Beard) starts to pour over the piles of tapes from Fact or Fiction’s filming in the Pine Barrens, and he seems to believe it was possibly not Suerd who was responsible for the disappearance of Steven and Locus after all. It may have been someone, or something, entirely different.
First of all, I find this film holds a pretty decent tone throughout its runtime. Starting early on there’s this great feel of tension, and I think at least until the terrible ending it holds up entirely. My favourite part about any horror film, or even any film in general, is when there’s a genuine atmosphere cultivated through music, direction, and the script.
There’s some interesting music in the movie, courtesy of director/writer Stefan Avalos (who apparently was a child prodigy with classical violin) and A.D. Roso. At certain times, the music is so damn creepy. It has this haunting quality which helps to make the tension hold in a lot of scenes. Great stuff. There’s just a ton of ominous sounds in the score, so often sitting right beneath the surface of the scenes and slowly seeping under the skin. If only the finale’s payoff were worth it, the music would’ve helped to make this incredible. Unfortunately, the script fails every other aspect of the film by simply petering out into nonsensicality.
Before I get to the writing, and then the terrible ending, I’d like to mention that I do think some of the acting was pretty well done. For instance, I found Jim Seward – who plays Jim Suerd – to be fairly unsettling most of the time. Especially when he early on, after meeting the Fact or Fiction hosts, has a psychic fit then ashy words appear on in his arm; putting these guys on or not, this scene was extremely creepy. His whole demeanour in general is spooky and I thought this helped the film immensely. Not all the acting was particularly stellar, but I do think Seward did a fine job with the material for his character. There’s a craziness and sadness all around about this character, which I found intriguing.
Concerning the found footage sub-genre, I think The Last Broadcast, while highly low-fi, doesn’t employ too much shakiness in the camerawork. There’s a lot of it, but there isn’t a string of scenes where they’re running through the woods and you can’t see anything whatsoever. While I love The Blair Witch Project wholeheartedly, the few real shaky scenes in that nauseated me; they didn’t take away from that movie, but it’s my only single complaint. At least, for all its faults, The Last Broadcast doesn’t go for much of that. The video quality – being an ultra almost non-existent budget film in 1998 – is pretty rough almost all of the time, yet there’s not scene after scene of rattling camera shots, bouncing up and down as someone holds onto it and runs for their life. So, in that manner, I do find the low-fi video plays well into everything because the whole Fact or Fiction show, their journey into the woods, it all feels quite natural and real. Essentially, I really feel like I’m watching some documentary slapped together by a bunch of amateur filmmakers, but it doesn’t make me not like this movie – that’s something I found genuine and enjoyable about the whole thing.
Now, I’ve got to get into the writing and the script. There’s an awesome story in here, and up until the finale’s ruination there is solid plot. For the first three quarters, maybe a little less, I think the story of The Last Broadcast holds up. While they’re going through all the motions – getting ready to go into the woods, Jim Suerd gets a little stranger than normal, then they finally get into the woods – I think the writing is well done. Something again regarding the found footage sub-genre is that we don’t have to go through a bunch of moments where someone is yelling “Turn off the camera”. While it works in some films, such as the aforementioned Blair Witch Project, I think it gets forced into too many other movies. This is because a lot of found footage movies go too formulaic, trying to add all the elements they feel need to be in there in order to make it correctly. Luckily for this film, it came before The Blair Witch Project and its success caused an absolute avalanche, still raging to this day, of found footage sub-genre efforts. So it avoids some of the pitfalls which are now associated with so many bad found footage movies today. In the process, I find The Last Broadcast more interesting than others because it’s not as typical. As I’ve mentioned several times already, the real feeling of the tapes and the characters/situations makes it work well.
Finally, we come to the ending to ruin all endings. I’ve got nothing against a seemingly supernatural horror turning out to be something more down to earth and real in the end. Not at all. For instance, though I love Stephen King’s book The Shining I find Stanley Kubrick brought a touch of family dynamics and real horror to an otherwise supernatural story. But here, there’s none of that. The ending works against everything else interesting happening throughout the film.
WARNING: To discuss fully, I have to spoil the ending. If you’ve not seen this yet, don’t go forward. If you do and you haven’t seen it, do not complain about spoilers. I shouldn’t have to warn people about this: I review films, this is a film review blog. I’m not giving previews, I’m reviewing after the fact. YOU’VE BEEN WARNED!
By having the finale basically take aim at the media and how we relate to/are affected by media, by making the David Leigh (Beard) character responsible for everything – murder and all – Avalos and Wiler take everything else tense and suspenseful and eerie about the script and obliterate it. The Last Broadcast could’ve ended in a much better fashion – even an open ended finish would’ve been incredible, to me! I would’ve walked away from this, had it closed with a more ambiguous finish, and thought this was one of the better early found footage films to have come out. Instead, I constantly bemoan anybody who says this is an excellent movie. It is not. The possible greatness is torn apart with the last 20 minutes or so, I just can’t even describe how ill handled the script becomes in the last quarter. Sad this hadn’t turned out better. So much potential.
Much like a recent film I enjoyed until the final 15 minutes The Canal, I was devastated to have invested so much in the story/plot of The Last Broadcast only to be fooled with the ending. Certainly I enjoyed a lot of what came before the finale – plenty of creepy scenes full of mysterious writing, ominous music, and low-fi terror tiptoeing around so many scenes. I’ve just had it, fed up, with movies that ruin their potential by copping out on an ending. It’s as if they either couldn’t think of anything else, or they were too afraid to leave the film on an open end, so rather than contemplate the best possible ending they could’ve drummed up the filmmakers find the path of least resistance. Instead of being shocking or unnerving, the end makes me roll my eyes into the back of my skull until it hurts.
I can only give this movie 2&1/2 stars. If the ending was better, this could’ve easily been a 4 out of 5 star horror. With the mashed in finale, The Last Broadcast is only a mediocre, if that, found footage horror effort. If ever a movie needed a good remake, it’s this one. Someone should pick up the rights and fix the ending; this could be one killer film if the writing were handled better.