One of the best intertextual horror films out there: a deconstructionist look at the slasher sub-genre.
Nothing out of the ordinary here. Yet ROVDYR (a.k.a MANHUNT) packs a visceral, brutish punch all the same.
Scarce. 2008. Directed & Written by Jesse Thomas Cook and John Geddes.
Starring Steve Warren, Gary Fischer, Chris Warrilow, Thomas Webb, John Geddes, Jesse Thomas Cook, Stephanie Banting, Gavin Peacock, Matt Griffin, Jaclyn Pampalone, Jackie Eddolls, & Jason Derushie.
Bloodlife Films/Two Door Four Door Pictures.
Rated 18A. 93 minutes.
Some movies are so bad they’re good. Others are just downright bad, to the point you’re unable to enjoy anything about them other than fleeting moments. Often times you can find enjoyment in a bad film because it’s fun to laugh, poke fun, point out all the bad effects, performances, and whatever else makes you chuckle a little. In certain situations depending on the film, this can make for a so-bad-it’s-good cinema experience.
Then there are horror flicks like Scarce, which cross over into the so-bad-it’s-embarrassing category. This little Canadian horror is never quite able to find its footing. A few scenes are creepy, a bunch are gory and nasty. Other than that it’s poor acting, uninspired directing, and a general mash of ill conceived attempts at tackling the backwoods cannibal horror it so clearly reveres.
Funny. I had a better time watching the Making Of documentary included on the DVD than I did watching the film. That’s only half a lie. I always try to find the good in each movie I watch, no matter how bad it gets. Problem being that there just is not good in every movie. Not all art is art – some of it’s pop, some of it’s art, some of it’s trash. Those are the odds. And odds are, you’ll also agree with me on this one.
One of the immediately awful parts about Scarce is the fact it’s a Canadian production, clearly filmed in Canada and with Canadian actors, yet they’ve insisted on making it out as an American setting. First off, the accents of a couple actors give away this whole fact. Secondly, I’m not entirely sure why they would bother doing this when there are plenty of backwoods locations across Canada where you can set an isolated film such as this one. Often it’s to appear more commercial, though I’m still not sold on that being of any use.
Later, it isn’t just the performances that are weak. Even little moments that are meant to be scary or dramatic come off as weakened thuds, rather than landing with any impact. For instance, at one point Ivan (Steve Warren) whacks Dustin (Thomas Webb) as he exits the outhouse, and this not at all any type of large stunt, it’s not expensive or intricate, but it looks like absolute dog shit. Small moments like this come off as poorly conceived and executed, which does nothing for the film overall. Only makes the amateur, low budget feel of the movie more evident – this doesn’t always detract from independent cinema, only when it’s painfully obvious, almost pathetically so like here.
The acting is what really does Scarce no justice. While certain elements of the plot and a couple nasty bits of blood are intriguing enough, there’s no good acting to be found. And I don’t care how interesting of a story, or how creepy any of the scenes can get, without solid acting there’s no way any movie can rise above its flaws and feel enjoyable. Although, I have to give it to Steve Warren. Sometimes he can be the worst of them, in terms of performance. All the same, in comparison with his murderous counterpart played by Gary Fischer, his work is decent. In a couple scenes he’s terribly cheesy and forced, but every now and then he’s eerie beyond belief. So even if his acting isn’t close to great, he’s certainly one of the better parts about the performances even if he shits the bed in his role from time to time.
The backwoods cannibal sub-genre in horror has been done time and time again. Many of us horror fans love a good dose of cannibalism, especially if it’s going down in the isolation of secluded, wooded areas. Right back to The Texas Chain Saw Massacre, a personal favourite of mine (and so many others), and all the way up to the mostly yawn inducing Wrong Turn franchise. Most of Scarce just feels lazy. As if the writer-director pair opted to take many of the cliched elements in the sub-genre and jam them into the single plot. A lot of the writing itself is lame. There are absolutely unsettling qualities. However, dialogue such as when Ivan talks about how they’ll soon be “nothing but [his] shit” and other of his/Wade’s ramblings make the story and the its characters more laughable.
Visually, there are some moments I enjoy quite a bit. The biggest is when Ivan and Wade take the guys out in the morning to let them free in the woods, before hunting them with a rifle, and there’s this excellently eerie piece of music from the score along with a stylized, brief sequence of Wade hauling the two victims by their chains, them bloody and worn down. This was a solid, if not too short scene. A little while later once the guys are running through the forest, there are some nice shots. It’s too bad this couldn’t have extended to the rest of the sequences where everything felt overwhelmingly bland. These couple minutes actually look great and then we quickly return to the film’s laziness.
Finally, it’s the hole blown in Ivan that takes the cake for best effect. They probably blew a large portion of budget on this one gag alone, as it’s a combination of CGI and practical work. Nevertheless, it definitely works, and the hole in his torso looks genuine. A nice dose of gore in the the final ten minutes to really try and impress us. Too little too late, but a noble effort indeed.
I can’t give this any more than 1&1/2 stars. Even then I’m not totally sure it deserves that much. Still, there are little elements in Scarce that give you enough to hold onto, if only for a little while. You certainly won’t be blown away, by anything. Not once.
At the same time, give it a chance and at least see the effects. There’s a bit of sloppy gore, some wild blood. I own it simply because I bought it on a whim for $10 somewhere. Definitely not something I’d seek out to buy otherwise. At least there’s partly some spirit of horror alive in this flick. Underneath so much less than mediocre fare.
The Hills Run Red. 2009. Directed by Dave Parker. Screenplay by John Dombrow & David J. Schow.
Starring Sophie Monk, Tad Hilgenbrink, William Sadler, Janet Montgomery, Alex Wyndham, Ewan Bailey, & Danko Jordanov. Fever Dreams/Warner Premiere/Dark Castle Entertainment.
Rated R. 81 minutes.
I’m a lover of the slasher sub-genre. When I was young, renting a slasher flick was like the ultimate rebellion in terms of what I could rent at the video store. I’d seek out any little film if it had an interesting mask, a creepy villain, anything that felt ready made to chill. Sometimes that led me to terrible efforts that didn’t simply show their budget, but also contained nothing in the way of good acting or decent writing. Other times I stumbled across hidden gold, movies to this day I still watch on occasion. Back in the day this wound up introducing me to classics like The Burning and the wonderfully unique Candyman.
In 2010, I got the chance to see The Hills Run Red. There are times the acting isn’t completely amazing, though never is it pitiful like some slashers at the bottom of the barrel. But what this sub-genre picture does right is it brings an interesting and unique story, also offering up a nasty slasher villain with an eerie mask.
So for all its fault, this film tries hard. Boasting a premise centred around a fabled slasher movie made by reclusive auteur horror director named Wilson Wyler Concannon, The Hills Run Red takes on the DNA of a backwoods thriller that takes city folk into the deep, dark woods. What lies beneath is a twisted and vicious slasher that has such bloody sights to show us.
The mask is creepy enough on its own. Sadly this one won’t turn into a franchise, though it would make for one hell of a series in my mind. But that mask, the baby face, it has the potential to be iconic. Babyface himself is a terrifying figure. The way we slowly find out more about him throughout the screenplay is excellent. And the writing also serves him well. Instead of seeing some of the more gruesome moments, such as him assaulting Serina (Janet Montgomery) which clearly happens as evidenced by the post-credits scene, the writers opt to let the lead-up speak for itself. The blood and gore is there for Babyface, however, as opposed to some other movies with similar events this one decides not to go too hard for the jugular on unnecessary sexual violence. And that makes the villain scarier to me. Sure, he still does awful things. Not seeing some of them increases the fear, as what we don’t see then becomes heavier than what we do. There’s one moment where Babyface becomes infinitely more unnerving: when he captures Serina she tries pleading with him as if he’s this absolute maniac, then he speaks to her in plain words, so matter-of-fact and – dare I say it – sane. His brief line or two here sends chills down my spine.
We got solid doses of blood here. Even the movie within a movie shot where the blood literally runs down the hills actually used a massive amount of fake blood, which in turn looks awesome. The cult slasher they track down is fun, as we get to see actual clips ourselves. Between the kills there and those in the actual movie itself, there is plenty to indulge.
A few particularly solid slasher kills. One is the two trees scene from the lost movie by Concannon where Babyface essentially tears a woman apart with barbed wire. This one is outrageous, but so much horrific fun. Its implausibility be damned; I love a weird, wild murder like that amongst some of the others. This is a trope of the sub-genre, and director Dave Parker uses it well, among others. Then there’s some of the more realistic stuff like later when Lalo (Alex Wyndham) is being tortured and killed. Finally, we return to the excellently ridiculous stuff such as when Babyface has his mask ripped off, then is forced to wrap it back on with barbed wire. Gnarly stuff, which I dig. The entire final 15 minutes has got some proper horror work, from the kills and the blood to the face underneath Babyface’s mask. All of it is the epitome of macabre and wonderfully grim.
The performances are decent. However, it’s William Sadler and Sophie Monk that are worth watching. Sadler is always enjoyable – I’ll always remember him most as the stuttering, hard ass convict in The Shawshank Redemption. Here, he gets very dark. Concannon is a mystery, an enigma, and he seems pretentious like an arthouse horror director full of himself to the point of nausea. Later on we discover there are highly hideous layers to the skin he wears for the outside world, and Sadler brings out the mania of the character so well in the last half hour (or less) once we see him more. Then there’s Monk, someone I’ve personally never watched in anything. She doesn’t do anything overly amazing, but she does in fact fool me. Part of that’s the writing. Yet she is able to subtly play a part that could easily telegraph its development miles ahead. Rather, Monk gives us a view of this complex woman, and then when her character is fully fleshed out near the end it’s genuinely surprising. Nothing awards calibre, though this film doesn’t need anything like that. Monk plays it coy and sexy early on as the junkie stripper, then becomes much more sinister as the time goes on.
Also, I cannot do a review without mentioning the man playing our unnerving slasher villain, Danko Jordanov. He is silent the entire time except for grunts mostly, then the one or two lines which absolutely crush my soul, so to keep a certain presence onscreen with only a costume and a mask and his physical intimidation is an impressive feat. Yes, the mask is a scary piece in itself. Aside from that just how Babyface moves inspires fear. To me, this killer is iconic. I don’t care if this movie is way under watched and unloved. Babyface belongs up there with a lot of the big baddies in the slasher sub-genre.
No, The Hills Run Red is nowhere near a great slasher picture. Although I’ve got to say, it’s a sort of favourite of mine ever since first seeing it. It suffers from some less than stellar acting from a few of those involved. Monk and Sadler save the film on that front just by giving it their all with an enticing energy. What this movie lacks in certain areas it makes up for greatly in its fun. There are wild kills, raw and honest ones. The central aspects, its killer and the lost film, are interesting. On the whole, the elements which need to work are well executed. Every time I throw on the DVD now I still have a ton of horror fun, no matter if a few bits and pieces don’t match up with its best parts.
And no, this isn’t going on to become a series, spawning an entire franchise.
But let me tell you this, none of that means Babyface isn’t a great slasher killer. He is a villain commanding attention, fear, respect. Okay, maybe not the last one.
Just don’t expect to live if you hear his rattle. Respect that.
Don’t Go In The House. 1979. Directed by Joseph Ellison. Screenplay by Ellison, Ellen Hammill, & Joe Masefield.
Starring Dan Grimaldi, Charles Bonet, Bill Ricci, Robert Osth, Dennis M. Hunter, John Hedberg, Ruth Dardick, Johanna Brushay, Darcy Shean, Mary Ann Chinn, & Lois Verkruepse. Turbine Films Inc.
Rated R. 82 minutes.
Still banned in certain countries to this day, Don’t Go In The House was filmed in 1979 then released the following year to become one of the infamous Video Nasties. It ended up on the original list, though managed to avoid prosecution after certain cuts were made and the film saw a release in ’87. And while there’s a certain part of me which understands why some might find themselves horrified by this movie, it isn’t all shock and awe. Of course, for a movie about a man who burns women to death in his basement with a flame thrower it’s natural there are gruesome scenes. The entire concept and the plot is truly horrifying, a reason why this film has endured in the hearts of genre fans for years. Quentin Tarantino for one is a huge fan of the film having played it at his film festival several times, as well as mentioning the movie had an impact on him when he first saw it. Because for a slasher horror with a gimmick this doesn’t back down. It both delivers the goods any slasher demands, serving up lots of the sub-genre killing we’d expect, and also provides a decent enough view into the lead character, whose complex psychology brings about a series of destructive consequences that eventually lead to a violent catharsis. Underneath its meager
slashburn-and-kill premise, Don’t Go In The House looks at a man damaged by the psychopathy of his mother, and also encapsulates the end of a decade into the beginning of another with the ’70s fading in the rear-view while 1980 reared its head.
Working at an incinerator, Donny Kohler (Dan Grimaldi) witnesses a man almost burn to death in front of him. Freezing, unable to help, he’s ostracized by his boss. A co-worker named Bobby (Robert Osth) befriends him to try and make sure Donny doesn’t blame himself for anything. But while Bobby tries to be Donny’s buddy, the latter is busy out doing other things. Or well, he stays at home a lot. Because down in his basement Danny decided to build a special room. It’s lined with steel sheeting. In the middle hangs a chain. And at night Danny brings women home, chains them in his little room, then sets them on fire with a flamethrower.
See Danny has issues with his mother – the one sitting dead and dried up in his house, the one he still talks to casually, every day. The more women he takes home and burns to death, the crazier he gets. And going to the disco with Bobby just can’t seem to get him out of the habit.
For a time without the elaborate special effects of today, Ellison does a good job in ’79 making directorial choices so as to not have to focus on anything that might look less than stellar. Sure, it still looks like a film out of the late ’70s, in both good and bad ways. But the burnings especially are carried out with precision to make the scenes more effective, rather than having them come off as disingenuous, making things look terrible and campy, in the wrong sense.
There’s an interesting change in the film where we go from disco music to rock. This is ultimately the shift from the ’70s to the ’80s. Granted, there was plenty electronic music and other New Wave stuff to come from the 1980s, but what it means is the death of disco, a shift – even if only part of the way – back towards rock n’ roll again. A new era begins, the disco inferno burning out with Donny’s flamethrower. Finally, it is also the burning in effigy of his mother. Naturally those are what his victims stand in for, the memory of her, the things she did to him as a boy. Yet further than that the shift from disco music Donny played earlier to the rock n’ roll he falls asleep to, before having hallucinations of his mother and burned corpses, is another symbolic gesture of his departure from dear old mom. Similar to Norman Bates, this psycho has himself a mommy problem. Obvious enough, but the script and the direction together make this an impressive character study of a man driven to sick compulsions all due to the relationship he had with an abusive, domineering mother.
The film’s brutality is astounding. And yet there’s only truly graphic scene throughout the entirety, which is the first time Donny tries out his little fire room, a.k.a the oven, as I call it. We get what would come after this as the obligatory 1980s slasher horror nudity, but then comes the savagery when he burns the woman in his room alive. Even while it’s graphic, the editing and Ellison’s choices as director make the whole burning sequence disturbingly memorable without any gore. And like I mentioned the effects come off well because of this effort. Even though there’s plenty more to creep us out the movie’s violent horror elements hinge on this kill. Upon revisiting this one, a major reason why it left an impression on me is because for what’s technically a slasher sub-genre flick, Ellison’s movie drums up tons of terror with only one actual graphic murder. Usually these types of horrors are based on a body count. Instead of going with what would become a major trend in the ’80s, Ellison kicks off an important decade for the genre with one of the most atypical and enjoyable slasher movies out there.
For me, this is one of those movies that only gets better every time I see it. Almost every time I forget about how eerie the dream sequences are, then they hit me like a ton of bricks. Don’t Go In The House has more to it than meets the eye. It presents as another Don’t-titled generic horror that’s ready to offer up all the same trappings of most every film in the sub-genre. Director-writer Joseph Ellison went another way, studying the character of a fragile young man that turned into an adult killer while also ushering one decade out and saying hello to the next one.
This little flick has the goods and is all too often passed over as a lesser offering in horror. I say that is nonsense. Give this a chance, look at it closer. But mostly, let it wash over you, from the disco to the dark subject matter and the fire – oh, the fire! It’s all glorious.
Man Vs. 2015. Directed by Adam Massey. Screenplay by Thomas Michael.
Starring Chris Diamantopoulos, Chloe Bradt, Michael Cram, Kelly Fanson, Sam Kalilieh, Alex Karzis, Constantine Meglis, Drew Nelson, & Kate Ziegler.
Unrated. 87 minutes.
When it comes to found footage, a film can often help itself by using a gimmick. Now, that does not always help. Although, sometimes the sub-genre is at its best when a film not only has a good story but also an interesting gimmick. The Poughkeepsie Tapes used found footage to explore the decades long trail of a demented serial killer. Afflicted tackles the vampire sub-genre within found footage framed by the world globetrotting trip of two lifelong buddies after one is diagnosed with a likely terminal illness. And the good ole Blair Witch Project had pretty much the first big, successful internet campaign mixed with a richly fleshed out fake mythology to propel it forward big time.
Man Vs. uses a premise I’ve long said would make for an interesting ride. With a main character whose job is very Les Stroud-like, and whose television series is quite the direct parallel to Survivorman, Adam Massey’s film is a creepy little flick. Some of the effects, specifically later in the film when we see what is in the woods with the main character, leave a lot to be desired. In fact, part of it is terrible CGI, the other parts equally terrible riff on Predator. But the suspense, the emotional journey of the protagonist, all the tension which builds up towards the conclusion, is every bit worth it. The pay off doesn’t fully cash the cheque this screenplay wrote for us. Still, Man Vs. does an interesting job with its premise, Chris Diamantopoulos carries the dramatic portion of the movie on his shoulders, as well as the fact there is a quiet atmosphere which will certainly give you a creep or two. Don’t expect the conclusion to offer much for what it stacks up going in, but enjoy what there is to find because it’s not all a waste. Though it borders on it.
Doug Woods (Chris Diamantopoulos) hosts a big television series called ‘Man Vs.’ that takes him to remote locations in the forest, where he’s left alone with only a few bare provisions, forced to encounter the wilderness and whatever it brings on his own. He is a TV celebrity, so part of him is bit of a show already. Though, it’s clear he knows his way around. After his brother Terry (Drew Nelson), Bill (Michael Cram), and Angie (Kelly Fanson) leave him at the latest location for the start of their newest season, Doug digs in. He finds food, a couple rabbits running around. He sleeps under the stars, he builds himself a little shelter. Everything is nearly idyllic. At least until something or someone starts messing with Doug.
When he finds his camp in disarray, a strange substance under his makeshift traps, even discovers his one and only Amp energy drink drained, the fact Doug’s not alone really hits home. Even worse when dead animals turn up all over his camp area and a big man-sized trap is left for him.
Can Doug survive this, too? Or is this one episode that’s likely never to air?
What’s interesting start off is how, usually, Doug has a bit of control. Because there’s the satellite phone lifeline. Introducing an eerie science fiction angle effectively puts him out there completely alone. So part of the plot really puts this guy, this survivalist, to an actual test. Also, like Les Stroud and his thoughts on the possibility of a sasquatch existing, Doug is a rational guy who spends a lot of time out in the wilderness, he sees a lot, hears so much, and that brings a degree of common sense-style knowledge – when he begins to question what exactly’s happening in those woods, there is an element of pure fear and doubt that works its way into the viewer, similar to how it does Doug himself. When people who are normally so grounded and rational minded find themselves questioning the presence of something ‘other’, it is much more of a shock than someone whose beliefs are fluid.
Actor Chris Diamantopoulos has a massive job to do with shouldering the weight of this film’s drama. If he weren’t as charismatic, the whole thing would’ve suffered much more. Instead, he gives us a very likeable Stroud-type guy. He is real, he’s got a family at home, his friends and the relationships with those who do the show, and so on. The writing helps, obviously, but it’s Diamantopoulos whose got to face the camera head on and be the only one onscreen for the better part of its entire 87-minute runtime. I’ve seen him in a number of things, most notably his delightfully unsettling turn on Hannibal, though, he is at his best here. Watching his Doug switch from pissed off and upset to putting a face on for the camera and his TV show, it is impressive at times. He gives us a view into what the life of a famous survivalist might be like, of course alongside a sci-fi situation that no survivalist would ever want to be in. His likeability and natural, relaxed attitude as the only person on camera really does well to help the screenplay feel organic.
I really feel the last 15 minutes or so does the entire film a terrible injustice. If they’d decided on another way out, Man Vs. could easily have come out on top as a great little found footage effort. Instead we’re given half baked nonsense, too many additions to know what to do with, and more of the brutally CGI’d creature in the woods. I’m convinced had they went without including direct looks at their creature, or maybe completely went with it unseen, the whole story would’ve came off better. Without ruining anything, Doug ends up at a camp and sees something there on a television set which shocks him to the core. It should come off as a moment of impact. Rather, it’s more of an eye roll scene that made me want to fast forward completely through the remaining few minutes.
This is a 2-star film. A lot of wasted potential. Diamantopoulos is the best part about this found footage sci-fi-like thriller. If not for him, there’d be very little to enjoy. The suspenseful scenes and all the tense plot development is interesting. To a point. With nothing to justify all its slow meandering towards a lackluster conclusion, Man Vs. is barely mediocre, and ultimately mostly a huge disappointment.
Afflicted. 2013. Directed/Written by Derek Lee & Clif Prowse.
Starring Derek Lee, Clif Prowse, Michael Gill, Baya Rehaz, Benjamin Zeitoun, Zach Gray, Jason Lee, Edo Van Breeman, Gary Redekop, Lily Py Lee, & Ellen Ferguson. Automatki Entertainment/IM Global/Téléfilm Canada.
Rated 14A. 85 minutes.
When I start reviews of films which use the found footage format, often I try to defend the sub-genre. Because while some don’t care for it there are certainly enough people out there, such as myself, who can still enjoy these movies. Particularly those that use the technique well. Afflicted doesn’t revolutionize the sub-genre, nor does it give us a plot and story that turn things on its head. What we do get is an interesting, well-filmed found footage horror that is full of mystery and has plenty of thrills. With two actual lifelong friends writing and directing, as well as starring in the picture, a dark and twisty path takes us along for the ride. Even with its flaws Derek Lee and Clif Prowse make Afflicted into an exciting little flick with solid pacing and tons of energy. This is a movie with the ability to impress via makeup effects, the lead performances, and its story also reels you in with a charmingly emotional beginning that slowly descends into the stuff of nightmarish terror.
Derek Lee (playing a version of himself) is diagnosed with a brain illness that can and will either paralyze him, or possibly kill him. So Derek and his closest friend Clif Prowse (also playing a version of himself) set out to travel the world. They plan on documenting every last second of their trip for a video blog, “Ends of the Earth”, and Clif takes all his video equipment, from body-mounted cameras to small Go Pro-styled units.
When they start to hop from one place to the next, Clif is determined to hook Derek up with a lady. But Derek beats his friend to the punch and runs into a beautiful woman at a club; they dance, they go home together. When Clif goes back to the room he finds Derek knocked out, bleeding from his head profusely, as well as a cut on his shoulder. Derek refuses to go to the hospital, even after vomiting everywhere and then later punching a hole right through concrete. As things get progressively more strange, Clif tries to convince Derek he needs to seek medical help.
Something takes over Derek’s senses. He starts to become something else. At first it seems beneficial in most ways, as Derek can run over 60km/hr and can jump over a story high. But the virus infecting him proves to be far from beneficial – Derek can’t eat anything without throwing it up, his body starts deteriorating, and his powers start to become more powerful than he thought possible.
The makeup effects are incredible. One of the first truly impressive moments is when Derek tries to take out a contact and pulls off part of his eye; such a simple effect, but how they shoot it works so well. All the effects get better as the film progresses, even the simple little things are done right, which adds a good dose of reality to things alongside the use of found footage. There’s a head that gets blown out the back with a gun at one point, and it is unreal how awesome it looks (plus you’ll be blown away similarly by the twist of it); such nasty effects work, dig it.
Also, not sure if it’s done digitally, but regardless – the Sun Test that Derek does on his hand is so gnarly, in the best sense. Added to that sequence is good sound design. As Derek runs through the streets, his skin sizzles and you can hear it underneath the plethora of other sounds, and is it ever well done. The body-mounted camera works like a first-person shooter video game here, which I enjoy. Though it’s shaky cam for a couple minutes, the found footage takes on a more action oriented perspective than simply people running through the dark, in the woods, screaming. So points for that whole segment, it is super neat.
All stunts involved are excellent, so perfectly executed. The car-punch scene was great, as are the scenes were Derek tries jumping up some buildings. Other than Chronicle, most found footage films don’t go for such big scenes. There are others that have tried, but none other than that film which succeeded like this one. Again, the body cam chase scenes do it for me. They made it look like a whole lot of fun, in the most dangerous way. Plus, the plot gets more frantic and wild, so the frenetic bits there play into that whole element.
The performances of both Derek Lee and Clif Prowse were good. It helps they are actually close friends and have made short films together, because their natural relationship comes across, sort of anchoring us to the characters almost immediately. Working from there, the screenplay is pretty solid. A few points could’ve been tightened, though, on the whole it is mostly intriguing. The movie’s exciting and certainly deserves 4 stars. With found footage it can be a really mixed bag more often than not. It’s still a sub-genre in which I’m very interested. It does have a lot to offer when used appropriately, which Lee and Prowse do here. Everything works towards a proper mix of horror, mystery, and thriller. We’re lucky to get a different type of vampire flick in the midst of so many sub-par films trying to do different things with the vampire lore. The last 20 minutes or so give the real goodies.