Whatever, Found-Footage Doesn't Like You Either

Whatever, Found-Footage Doesn't Like You Either:

A Defense of Films Most Unpopular Sub-Genre

This past weekend brought with it the release of the surprise sequel to 1999's The Blair Witch Project, the film that kick started this whole "found-footage" subgenre. The new movie, simply titled Blair Witch, was not only met with poor critical reception but also found itself with a slightly disappointing opening weekend, with a box office of just $9.6 million (the movie cost $5 million, so in retrospect it's not so bad). So we all know what that means right? That means it's time for all the haters to come out of the woodwork to tell everyone how much they hate found-footage and how big of a mistake this new movie was. Only it wasn't a mistake, the movie is phenomenally made and a literal thrill ride in a movie theater. So why all the hate? What is it about this subgenre that the bad overshadows all of the truly fantastic films to come out of this? 

I'm not sure I'll be able to answer 'why' these people are so vile towards this kind of filmmaking but I can at least explain why this kind of attitude is completely unwarranted. If you are someone who gets motion sickness watching shaky cam then this article is not speaking directly towards you, I cannot blame someone for physically not being able to sit through these movies. I am addressing the fans, mostly in the horror community, who enjoy this genre at its best but cry for its death whenever a new film releases. 

The world of film is filled with all different kinds of genres and subgenres, some more popular and profitable than others but there is no denying one thing; In any genre of film there are far more bad films than great. This is a general rule with film, there is so much more bad than good out there that we have to be able to cherish it all for what it is. My point? Movie nerds never cry for the death of rom-coms or westerns whenever we get a bad one. So why does it have to be the end of found-footage every time a lackluster film is released?

A large part of this attitude, I believe, comes from the fact that this sub genre hasn't been around nearly as long as others. The pool from which to pick these kinds of movies is only a fraction of the size of most others that have been around almost as long as film itself. This means it is much easier for a fan to claim the amount of good here is far outweighed by the bad, but I strongly disagree. Since just 1999 we have seen a number of truly great films come out of this 'trend' that most moviegoers, including those who bash the genre constantly, would admit to thoroughly enjoying.

Take, for example, 2008's surprise hit Cloverfield which took this style of filmmaking and brought it into the big budget world. I remember when this movie came out, it was a huge deal among most young moviegoers and the secrecy around it make it a small cultural phenomenon. Still to this day I find far more film geeks who love this film than who don't, and for good reason. It was a huge movie made on a tiny scale that allowed us to feel like we were all really there in the city with them. 

That is a massive component to what makes these films, when done properly, so damn entertaining. Found-footage movies are meant to be an experience, one that feels more real than any other kind of filmmaking. This is what made The Blair Witch Project the most successful film of all-time and I believe it's a large part of what a lot of moviegoers fail to grasp with these stories. In order to get the full enjoyment and experience you need to allow yourself to exist in the world you are seeing and believe what is happening to be true. I'm not saying you have to leave the theater thinking you just watched a documentary, but a small suspension of disbelief can go along way.

There is even more to it than that though, and I believe the other major issue plaguing these movies is one that is effecting the film world as a whole right now. Most moviegoers judge the entirety of the movie universe on what they see in theaters. Now, fifteen years ago this would have been totally justifiable but with the rise of streaming services like Netflix and Hulu, as well as video on demand (VOD) platforms some of the best movies being made these days are seen on your home television. 

If you head over to Netflix right now and browse through the horror section you will find a handful of solid found-footage movies. Take for example 2015's Creep, from filmmaker Patrick Brice and starring the wonderful Mark Duplass. The flick is as simple as can be, made with one camera and two people they get more story and scares packed into 80 minutes than most straight forward horror films these days. Or, if you are like me and get unreasonably creeped out by the elderly then you shouldn't hesitate in popping on The Taking of Deborah Logan. This would-be documentary about alzheimer's quickly turns into truly unnerving piece of paranormal horror. 

Also, and I cannot say this enough, never be afraid to check out what's being made in other countries. Foreign cinema is where some of the most creative and fresh voices in filmmaking are and the found-footage genre is no different. Go seek out the incredible Spanish horror franchise [REC], the first two movies in the franchise deal out some of the best scares in modern horror, period. You could also pop on Netflix and see one of my favorite movies of all-time (no joke) Troll Hunter. This brilliant norwegian film will dish out a few nifty scares but more than anything else it's an absolute blast to watch. Boasting incredible special effects and a wonderfully charming story this could easily be the film to sway your judgment on the medium. 

I could go on listing the many other found-footage movies that I think are brilliant, but the haters will just retort with the ones that aren't, like The Gallows or Apollo 18. So I guess what I have to say to all of you is that you should take a step, look at the films you love and decide if you really think this kind of storytelling needs to go away. After seeing Blair Witch this past weekend, and with the satirical horror flick Found-Footage 3D coming out at some point in the near future, I am excited about seeing where else this genre can be taken.  

If nothing else, come away from this with the understanding that the found-footage genre is no different than any other form of filmmaking. The bad will always outweigh the good and if we can't truly appreciate the good because of that then why even bother in the first place? There were three bad superhero movies this year but there's no rallying cry for the death of superhero blockbusters that cost $200 million to make. Why then, should a style of filmmaking that is traditionally profitable and that cost so little to make be ostracized for its failures?

The chances of swaying even a fraction of you to my side is pretty much impossible, but at the very least I hope I have convinced even a handful of you to give these kinds of movies another shot. I especially hope to convince some of you to go and give Blair Witch a shot in theaters if you haven't already. It is a wonderfully crafted horror experience and too many are writing it off simply because of the style in which it was made. If this is the hill on which I choose to die than so be it, At least it's defending a bunch of films I really love.

As always, thanks for reading and I am Zach Who Watches Movies. You can find me anytime on twitter @ZachWWMovies, smell ya later!

MOVIE REVIEW: Blair Witch

Blair Witch (2016)

Horror, Thriller

Directed By: Adam Wingard

When The Blair Witch Project hit theaters back in 1999 it was nothing short of a phenomenon, the likes of which we will probably never see again. They had people convinced what they had seen was real, so how do you follow that up? You can't try to re-capture lightning in a bottle, but you can recreate a feeling by building off of what audiences loved the first time around. Making the film in secret doesn't hurt, either and writing/directing duo Simon Barrett and Adam Wingard did just that filming under the title The Woods. With clever marketing and an understanding of what worked so well the first time around Blair Witch is the sequel fans have been waiting sixteen years for. 

Ever since it happened, James Donahue (James Allen McCune) has been obsessed with discovering how and why his sister Heather went missing in the woods of Burkittsville, Maryland back in 1999. He thinks he may have finally found a legitimate lead when he discovers a video online of someone lost in those same woods. Thinking that there are answers out there, or that his sister might even be alive still, he gathers a group of his friends to go out there and look for themselves. Though they are all skeptical they head out with James anyways in hopes of finally setting his lifelong mission to rest. Unfortunately for them the woods, and the Blair Witch herself have different plans for them 

If the original film was a thrilling build up to an epic final shot than this new movie is an insane roller coaster ride that finishes as abruptly as it begins. Barrett and Wingard knew they couldn't recapture the tension and surprise the original brought, but they could get the scares. Not only that but they made sure to make those scares much bigger than the first time around. Once the group has entered the woods they begin to rapid fire these scenes, with some jump scares feeling a little cheap but most of them landing wonderfully. The cheap ones are easily forgiven as well when you realize they are there to simply build more tension for the crazy final act. 

When I say this film is a roller coaster ride I mean this is the best possible way. What you are seeing this time around is a thrill ride experience. The movie is here to scare the hell out of you, not to change the genre entirely. The original was also an experience of a different sort, giving audiences their first real glimpse at the found-footage genre while also tricking them into believing what they were seeing was real. Blair Witch doesn't get the opportunity to do that so they created an all new type of horror enterprise within the same framework.

What makes the film more than just this amusement park ride is the way the filmmakers build off of the established mythology of the original. They take ideas that were barely even realized in the first and bring them into fruition in truly terrifying ways. They build off of the story of the man killing all those children under the witch's control, we actually get to see that influence in action this time around. They also incorporate different types of horror here as well adding a few practical blood shots and an unnerving sci-fi element dealing with time. This is precisely what a sequel is meant to do; take what the original established and build off it to create a story that feels both familiar and totally new at the same time. 

There were two key elements in creating this feeling and they are the characters and the updated technology. Taking advantage of the fact that everyone will know that this is a hollywood film this time, they brought together a wonderful cast of characters. Some we are pushed to really like while others are made to be the unfavorables, giving us a connection to this story that we didn't have the first time. It being 2016 now they also step up their game technology wise, equipping our characters with plenty of HD cameras, high quality microphones, and even a small drone. These are all used in clever ways to show us new angles, and give us new sounds that we were not able to pick up in the original.

Though this film may be one of the most exciting horror rides you take all year they have some trouble sticking the landing. Following in the footsteps of one of the most iconic final shots in all of horror the ending of this movie was almost guaranteed to fall short of it. If you are hoping for a crazy final shot that blows the lid off of this movie you will be disappointed. Barrett and Wingard focused on the ride that gets us to the finale and when the ending does come it feels like the only out they had. 

The latest installment in the franchise hardly sets out to reinvent the wheel but it does a damn fine job of polishing it. Operating on the same framework as the original these guys crafted a found-footage movie that hits every beat it needs to and those who enjoy this style of filmmaking will have a great time. If you are someone who scoffs at this sub-genre of horror I still say you should give this a shot. Seeing it on a big screen, as loud as possible, and with a big crowd made this a wonderfully fun, and truly scary experience.

As always, thanks for reading and I am Zach Who Watches Movies. You can find em anytime on twitter @ZachWWMovies, smell ya later!

MOVIE REVIEW: High-Rise

High-Rise (2016)

Drama

Directed By: Ben Wheatley

Dystopian storytelling is one of the most powerful ways to get a point across, if done right. FIlms like They Live!, Repo Man, and Children of Men get across a profound message about the societal age they are reflecting, What happens though when you take a story of dystopia from our past and give it to us in the present? Do the problems feel old and outdated or have we grown so little in some ways that the story feels as fresh today as it did back in, say, 1975? Director Ben Wheatley's adaptation of the J.G. Ballard book High-Rise asks us these questions as we watch a 1970's apartment building slowly descend into madness. 

Dr. Laing (Tom Hiddleston) has just moved into a new flat in a state of the art high-rise building designed by famed architect Anthony Royal (Jeremy Irons). It's to be the living space of the future, with all of their commodities available inside the building. From grocery stores to swimming pools this new way of living offers little need to go out into the real world. This idea spreads like wildfire in the minds of its tenants and in just a few months class warfare and a disassociation from reality leads the people to devolve into violent chaos. Closed off from the world the occupants of this high-rise experience first hand the high and lows of a caste system. 

Though the story takes place in the 70's, much of what occurs throughout feels like it could happen just as easily today. Aside from the blaring aesthetics of the film (Wheatley made sure to let us know this is the 70's) the story could have easily taken place in present time without changing much of the plot. The high-rise building is basically a mega-tower from the Dredd universe, just on a smaller scale and the mechanics of life inside don't differ all that much. The authorities don't come when tragedy occurs and the people on the top more or less control those who live on the bottom. 

In a day and age where we can get literally anything delivered to our doorstep, the idea of the changing mentality of humans when the need to leave their homes dies seems more present than ever. Confined to the forty floors of this building the residents create their own system of living that is both progressive and regressive at the same time. While the core idea of the building is a giant leap forward the execution of it is complete regression into the age of class society. So much so that a large group of the elite on the top floors even dress in victorian age attire, as if to say they are the aristocrats of the modern age.

Tom Hiddleston leads an impressive cast as the main character Dr. Laing and as usual puts forth an incredible performance. We are sold on this world through the eyes of Laing and its Hiddleston's performance that brings it home. Populating the supporting characters around him are some wonderful talents as well, like Elisabeth Moss as the pregnant single mother Helen. Next to Hiddleston though Luke Evans gives the best performance of the film as Wilder, a slightly crazed filmmaker. His descent into madness is the most tracked throughout the story and what he brings to the character is what sells it all. 

I personally have not read the book on which this movie is based, but from what I have gathered the violence and depravity are key parts there as well. From the way the movie opens up and with Wheatley's past films being used as a basis I was expecting there to be more death and gore than we were given. Not that it takes away from the film though as the point is to show how these people got there, rather than what happens when they did. Also, when violence does happen you can be sure it is in a brutal fashion as we have come to expect from Mr. Wheatley.

The use of music in this film must be commended as well, the way he uses unfamiliar renditions of popular music and how he syncs it up with side by side events happening within the building is a large part of what sucked me into the story. That, and the insane visual beauty that was created to give this film a proper period feel. The story is set in the 1970's and aesthetically you are reminded of this throughout. From the film's use of color down to the wardrobe of each class it is blatantly clear where in time this story is taking place. 

The movie hooked me from the opening scene and kept me totally engaged for the entire two hours that came after. If you allow yourself to be swept up into this crazy world than you will take a ride through the madness of the human condition that rings just as true today as it did back in 1975. Wheatley has quickly made a name for himself as one of the most unique voices in film and High-Rise is no exception. My only regret is that I missed this on the big screen, it is a such a beautiful film visually that seeing it on a massive screen would have only improved my experience that much more. 

As always, thanks for reading and I am Zach Who Watches Movies. You can find me anytime on twitter @ZachWWMovies, smell ya later!

MOVIE REVIEW: Clown

Clown (2016)

Fantasy, Horror

Directed By: Jon Watts

I am sure that a number of you reading this have a totally rational fear of clowns, and I get it, they are the epitome of creepy and anything with a permanent smile plastered on its face isn't to be trusted. This common phobia has been exploited throughout the history of literature and cinema ensuring that this fear be kept alive, and the directorial debut of Jon Watts takes it a step further. Simply titled Clown, the first feature from Watts gives us a new and interesting take on the circus centerpiece that will force audiences to second guess just how comfortable with clowns they really are.

Kent (Andy Powers) is a hard working and loving dad who wants nothing more than to make his son happy. Today that means he has to pay a clown to come to his son's birthday party to entertain him, because this kid has the creepiest obsession ever (clowns). When the guy they hired falls through, Kent decides to dress up himself using a strange old costume he found in the attic of a house he is currently trying to sell. Things get weird the next morning when he awakes still in costume only to find that this suit may not be so easy to get off of him. In fact, it seems that the suit is becoming a part of him. Reluctant of his new style he sets out to find out where this suit came from and how he can get it off however, the answers may not be what he is hoping to find.

I have never been one to claim to have a fear of clowns, but I have also never went out to defend them and there is no denying the inherent creepiness that comes with that painted face. Watts takes it to the next level though and instead of relying on an audience's already established fear he creates one for everyone to enjoy. In the film he establishes a new mythology for where the idea of a clown comes from and uses it to create a truly terrifying creature. The freshness of the idea keeps the viewer engaged throughout the story, adding a certain level of mystery to what's going on.

Despite what the title suggests this movie is a total creature feature as we watch the main character slowly turn into a hideous monster with sinister motives. Since it is a transformation story that also means there is a heavy amount of body horror as well, making this a movie that preys on so many of our biggest fears. It's one thing to watch a clown kill people, it's another thing to watch a man physically transform into a hideous clown creature who wants to eat your kid. 

Having a solid premise for a story doesn't ensure a good movie and with something like this execution is key. For the most part Clown hits all of its marks, it slows down in the middle of the second act but picks itself up for a blood soaked finale. The hook isn't as twisty as you might hope either but it fits the story Watts wanted to tell. A cool idea, and some fantastic make-up and practical effects are what carry the film and it is enough, but there a bit left to be desired here.

Andy powers takes up the lead role of Kent and does a solid job selling the horror of the transformation and the realization of what it means for him. Laura Allen covers the duties of his wife Meg doing a fine enough job but the acting power here comes from Peter Stormare, who unfortunately doesn't get as much screen time as he should. Playing the eccentric costume salesman he has some of the best acting moments of the film.

Having a delayed release in the sates means that this film got a huge build-up from the horror community. Anytime a film is held back fans begin to cook up theories as to why, usually leading to a huge hype around the film for being "too crazy". Clown certainly isn't a tame film by any standards but it also isn't doing anything we haven't seen before. They kill kids, that's why it was held back and when you see the movie it all seems silly that it happened. Though it may not live up to the hype created by some due to all of this, this is still a solid creature feature with some fantastic body horror and practical effects. I recommend any horror fan give this a shot, especially with the Halloween season quickly approaching.

As always, thanks for reading and I am Zach Who Watches Movies. You can find me anytime on twitter @ZachWWMovies, smell ya later!