Not Rated (Contains Language and Violent, Disturbing Images)
The Hell House company is well known for producing scary haunted houses around New York for the Halloween season. The members, Alex (Danny Bellini), Sara (Ryan Jennifer), Mac (Adam Schneider), Paul (Gore Abrams), and Tony (Jared Hacker), are all good at what they do, and have been best friends for years. But in 2009, they decided to leave the city and setup their new house in the small town of Abaddon, at an old abandoned building known as the Abaddon Hotel. The opening night, however, became infamous for turning into a violent catastrophe, as 15 people were killed by a supposed “malfunction” within the attraction, including the crew. The details of that night are mostly kept from the public, but when a documentary filmmaker named Diane (Alice Bahike) gets in touch with the lone survivor of the crew, she’ll have the truth; a series of tapes that fill in the blanks and give the real reason for what happened that night. Produced mostly independently with a very low budget, Hell House, LLC. is one of those found footage movies that don’t get crippled by their obvious limitation. In fact, writer/director Stephen Cognetti uses these to his advantage, crafting an effectively spooky and mysterious atmosphere from very little. It’s very rare to have a story this well written and well constructed for an almost no budget horror film. The best example of this is the mystery of the story. The film begins by presenting us with a short video shot by some college students who were in the house on opening night. Though the video doesn’t really show anything in detail, it’s clear something terrifying happened. The movie does an amazing job seamlessly filling in the blanks from the video in a way that feels logical and doesn’t ruin established continuity. Cognetti also assembles a great cast of mostly unknown actors to make up the Hell House crew. The five lead performers all fill their roles well and really feel like they are the characters. They also have a great chemistry between them that helps them feel more relatable. They feel like a true group of longtime friends, so when the situation starts getting more horrific, we care more about their fates. The film also has loads of great production values and visual effects. The low-grade look of the cameras helps to amp up the menacing atmosphere, and gel well with the creepy effects. The finished haunted house is also well designed and looks like a real haunted attraction. Even if the ghosts look a little cheap at times, they actually work well with the world established around them. Hell House, LLC. has many limitations, but the filmmakers never try to bite off more than they can chew. Instead, they use what they have and manage to craft something unique within the found footage genre. It is consistently terrifying thanks to well done scares and visuals, and the cast give great performances that are elevated by their natural chemistry. This is the perfect found footage movie to watch for Halloween.
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Rated R for language throughout, violence/gore, and a scene of sexuality.
As I’ve said before, found footage doesn’t require much of a budget to make. That’s why its a prime concept for first time filmmakers who may not have a lot of money at their disposal. While some are able to pull it off, many are not, and this results in movies that aren’t the greatest in quality. That’s what a group of passionate filmmakers are on a mission to do, only with a new twist; they’re going to film the first found footage movie in 3D. They may not have a completed story, or a reason for incorporating 3D into the concept, but that’s not going to stand in their way. They all journey out to an abandoned farm in the middle of nowhere to shoot. Production, however, is clunky and unfocused, especially when the behind-the-scenes videographer begins noticing strange things coming up in his footage. It soon becomes clear that there is a real supernatural force that has taken their fictional villain and turned it into a real threat. Though produced independently and impossible to actually see in 3D because of a severely limited release, the best way to judged this movie is based on its premise rather than its execution. The story goes full meta by taking the most basic found footage storyline and using it to make sly commentary on the the influence the genre has had; from the various clichés to the fact that there are so many bad ones out there. It really feels like a new rendition of the concept from the 1996 film Scream, as the characters are making a horror film while also being in one at the same time. This offers a much deeper commentary on the found footage genre than Grave Encounters 2, which was also pretty meta. But this film goes much further and is much more clever in conveying what it wants to say. It’s also just a really clever story to begin with. Yes, it works off the basic premise of a group of people go out to the middle of nowhere, go missing, and this is the last known footage of them. But writer/director Steven DeGennaro does a good job of both embracing and satirizing the clichés that come with that basic story. It feels original and surprising without ever feeling like a ripoff, and never forgets to be scary. The performances of the cast deserve praise, especially since they’re entirely made of unknowns. They all fit their respective roles as the various members of the film crew, and are able to pull off many of the film’s meta moments and bits of humor. Despite playing somewhat clichéd characters, they never feel like such. Found Footage 3D takes an established story and uses it as a springboard for smart and clever commentary on the increasing influence of the eponymous genre. The cast of unknowns do a good job giving life to their otherwise base-level characters, and the film does an even greater job at crafting a story that feels both fresh and familiar. Seek this one out, especially if you’re someone who believes the genre has been played out. Rated TV-MA (Contains Violent, Disturbing Images, Sexual Content, Nudity, and Language)
A television program by the name of My Roanoke Nightmare follows the supposed true story of Matt and Shelby, a young couple who decided to leave the city and move to the country. They acquired an old farmhouse in the middle of a dense wilderness; a deal that seemed too good to be true. However, things begin to happen that suggest something supernatural is tied to the property. What follows is the story of how the young couple and their loved ones attempt to get to the truth about what’s haunting their property. Soon they learn that something much bigger is going on; something that continues to target them even as the head producer of the show attempts to cash in on the story. It’s clear that whatever force tied to the property will stop at nothing to complete its evil plan, no matter how many production issues keep the cast and crew around. This is the sixth season of the popular FX series American Horror Story, and was mostly kept a secret during the initial marketing. The plot takes much of its inspiration from paranormal docudramas like A Haunting, with the My Roanoke Nightmare presenting its story with the real people being interviewed while actors play their roles in a recreation of the events. As someone who grew up with shows like that, I truly loved their form of satire/homage to this style of television. They lean headfirst into the clichés and do a good job recreating the look and feel of it. In true AHS fashion, it is hard to tell whether they want us to take their story seriously or laugh at the various over-the-top elements. However, I do like that they tried something different with this season. Then, once we leave the first five episodes, the series focuses on the aftermath of the show’s premiere. My Roanoke Nightmare becomes a major cultural phenomenon and the head producer wants to make a follow-up series more akin to reality television. This is where the season goes into standard found footage, as we watch the lost footage of the show that never finished production. This is where the season really dives into an intense and creepy atmosphere. Much of the horror unfolds in front of standard, low-res cameras that the cast is given by the producer, as well as your standard security camera setup. This gives a grim, gritty look that helps add to the menace of the growing horror. The effects, both practical and computer, blend well with all forms of footage presented. The highlight being the blood moon (the source of the evil) that looms in the sky. Even when seen through the lenses of the lower quality cameras, it looks especially creepy. There’s also the horde of sadistic ghost villagers that is sure to send chills down your spine whenever you see them coming with their torches. The performances of the cast also deserve praise. They give typically over-the-top performances like in other seasons, but they deserve props for showcasing more range this time around. The cast of the My Roanoke Nightmare show each play very different types within and outside of the program, and they do a good job at switching between both almost seamlessly. American Horror Story definitely varies in quality from season to season, but Roanoke is the one story that feels consistently great throughout. It may lag in places and lack a bit of focus (common problems for the show), but its embrace of the found footage and paranormal documentary formats make for something that feels fresh when compared to other seasons. Hopefully they take more risks like this in the future. Rated R for some disturbing violent content and terror.
The students of Beatrice High School once put together a production of an old play called The Gallows, the story of which is never fully explained. But when they opened the curtains in 1993, tragedy struck when student Charlie Grimille was accidentally hanged by the prop gallows. Now, 20 years later, a new production, led by Reese (Reese Mishler) and Pheifer (Pfeifer Brown), is coming together as a tribute to the incident. There’s only one problem; Reese can’t act. And his best friend Ryan (Ryan Shoos) would love nothing more than to get him out of it. So, along with Ryan’s girlfriend Cassidy (Cassidy Gifford), these three plan to break into the school and sabotage the set. But their plan hits a wrench when they’re confronted by strange occurrences. Soon they discover that the spirit of Charlie has taken on the role of the play’s hangman to enact a violent revenge against the group. Well, here we are at another found footage movie ranked among the worst of the genre. Even I have to admit that it has its fair share of flaws. The story is pretty basic despite the unique setting, and the characters aren’t the most well-rounded and even can be annoying at times. This is especially true with Ryan, who mostly runs around messing with people and generally being a jerk. But I’m not here to criticize. I’m here to defend. And despite the film’s various flaws, it’s still another fun entry into the found footage genre. A lot of my love for this film comes from the film’s setting. I have always loved schools and how maze-like some of them can be. So for a found footage film to be set within one is something I can’t resist. Even though the characters aren’t the greatest, the performances of the cast almost make up for that. The four leads do a good job of fitting into their characters and giving them enough life to make them sound like they aren’t just actors reading from a script. Even if Ryan is kind of a jerk, Shoos does a good job at playing a character like that. The scares in this movie are also really well done. Directors Chris Lofing and Travis Cluff take full advantage of the world around the characters to deliver some really intense moments. There are some really great jump scares that will have you moving in your seat. Even I had a tension-fueled headache by the end of the film. I don’t think I’ve ever seen a horror movie that has been capable of that. The hangman character is also a really interesting concept. He was marketed as a variation of classic horror movie villains like Freddy and Jason, and it’s easy to see why they took this approach. He does feel like an homage to those creepy bad guys, especially with the gallows noose he uses as a weapon. There is so much potential with this character that he even feels a bit underused in this movie. The Gallows isn’t perfect, but it has enough going for it to make it a very terrifying entry into the genre. It has a cool setting that the filmmakers take full advantage of and deliver some really effective scares. The cast performances work for the characters that inhabit the story, and the hangman concept is one that deserves to be explored further (even further than the sequel). In the end, it’s just a fun time even if it doesn’t take the found footage genre in many new directions. Rated R for disturbing violent content and grisly images, and for language including some sexual references.
In 1989, devoted Catholic Maria Rossi was arrested and committed to a psychiatric ward for murdering three people. Her daughter, Isabella (Fernanda Andrade), has been told throughout her life that her mother was schizophrenic. However, she knows different, as she learned that her mother committed these crimes while the three victims, members of the church, were performing an exorcism on her. So now, Isabella is out to find the truth. Along with cameraman Micheal (Ionut Grama), she journeys to Rome where her mother currently is. She recruits the assistance of two priests, Ben (Simon Quarterman) and David (Evan Helmuth) to figure out what is taking hold of her mother. As Isabella is indoctrinated into the world of possession and exorcism, they all discover that the force holding onto her mother is more powerful than they could ever imagine. The Devil Inside is often ranked among the worst of not only found footage, but of the horror genre itself. Aside from the basic comparisons to other films, the main subject of criticism was the ending. Without spoiling too much, the ending is a synonymous trope with the genre, with the characters fates being left unresolved. Even I will agree that this one in particular seemed really abrupt and inconclusive. However, The Devil Inside is far from a bad movie, and in my opinion, introduces a lot of things I love. As someone who finds the Vatican and the larger; more business-oriented side of it interesting, this movie did a great job of taking a deeper look into their inner workings, as well as a look into the education of such topics. Again, I find the more complex sides of religion to be more interesting than the surface level we more regularly see. The scares are also top notch. Director William Brent Bell takes advantage of the terrifying potential of found footage and crafts some very effective jump scares. Say what you will about them, but when they are done right, they can make the movie more fun. And many of the scares in this movie had me jumping out of my seat when I saw it for the first time. The script, from Bell and Matthew Petterman, also does a good job at keeping things mysterious. It starts off as a simple mission to save Isabella’s mother, before spiraling into another kind of story involving several other possessions. I don’t want to give away too much, but it becomes harder and harder to know what’s going to happen next, or which characters are truly trustworthy. The Devil Inside is, once again, a movie that was overlooked for what people hated and not appreciated for what it is. It’s a detailed and interesting look into the inner workings of the Vatican that adds some fresh layers to its story. The ending may be abrupt and inconclusive, but it really only adds to the mystery and tension of the story. It may not be the best, but it’s another example of the potential found footage has when people try to expand on in. Rated R for disturbing violent content, bloody images and language.
On July 4, 2009, the town of Claridge, Maryland, a small community nestled within the Chesapeake Bay, was gearing up for their annual 4th of July celebration. It’s something the townspeople look forward to every year. But on this day, something terrifying is bubbling under the surface. An event occurred that ended up killing much of the population, but the details regarding the incident have mostly been covered up. Until now. Journalist Donna Thompson (Kether Donohue), who was present for the event as a summer intern, has recovered much of the footage that was recorded that day. This documentary is compiled from that footage, and it paints a very different picture than what the public was led to believe. Donna is just one of several witnesses to the horror as the town is invaded by a ravenous, mutated force. The Bay hails from writer/director Barry Levinson, who won the Best Director Oscar for the 1988 film Rain Man. This isn’t the kind of found footage movie you might think. Sure, it has the classic setup of recovered footage explaining the truth about a certain event. But it unfolds very differently. Rather than focusing on Donna’s experience in a linear story, we follow several different perspectives all focused around the growing invasion. This adds a fresh layer to its familiar storyline. Because when you think of something like this happening, especially during a major town wide celebration, there wouldn’t just be one camera recording everything. There would be hundreds going all at the same time. This approach helps to expand the world Levinson is creating and make the whole event feel much larger scale. Similar to Cloverfield, only this movie is more believable than a giant monster rampaging through New York City. This is also aided by the variety of quality the pieces of footage display. Very few cameras used for the film give a crisp, clear image, and many are no better than your standard home video camera. This helps add to the realism, as what we’re watching looks like real footage that anyone could have been shot by anyone. We really get the full scale of the danger when what we’re watching looks genuine. The use of a documentary format also does a great job at conveying the ecological message at its core. The film isn’t as rooted in science fiction as the premise might sound like, and is more focused on facts surrounding topics such as pollution, invasive species, and overconsumption. Whether people are really going to take these messages to heart depends on what kind of people watch it, but I commend Levinson’s commitment to these ideals and not just exploiting them for a fun horror film. Levinson also does a great job with the mystery of the story. The truth about the infection develops over the runtime, and we are presented with several different red herrings; from a new virus to an evolved form of bacteria and so on. His script, co-written with Michael Wallach, does an amazing job at keeping us in the dark until the big reveal that I guarantee you won't see coming. The Bay takes full advantage of its found footage presentation and does what many of the filmmakers within the genre don’t try. It really immerses you in the world of Claridge and puts you front and center to a town under the mercy of the creature that rapidly takes control of everything. This is an example of when someone who has had years of experience in filmmaking tries his hand at a found footage movie; and it’s glorious. Rated R for disturbing strong violence and gore, sexual content, language and some drug use.
The third and final film in the V/H/S trilogy is generally considered to be the worst of the series. No one ever has anything good to say about it, and are quick to completely write it off as a poorly made finale. While I can agree that it’s the weakest, with cheeper visuals and a somewhat lack of commitment to the found footage backbone of the series, it is by no means a bad movie. It has its own series of surprises and moments of creativity that make it a fun film all together. Wraparound: Vicious Circles As an out-of-control ice cream truck wrecks havoc in downtown Los Angeles, a man obsessed with viral fame finds himself at the center of something much bigger as a new batch of videos, broadcast to people’s phones, begin to violently affect the city. What I like about this wraparound is how different it is from the first two. It’s much more action oriented, featuring rather elaborate action sequences for its low budget. It’s also a nice change of pace to have it set on the streets of Los Angeles rather than in one small location like the first two. It allows for a look at the effects the tapes have on people on a much larger scale than we’ve seen before, leading to a conclusion that wraps the series up in a nice little bow. Tape 1: Dante the Great A documentary follows the rising career of a magician known as Dante the Great, who’s amazing illusions are made possible by a demonic cloak that Dante feeds with his assistants. When one assistant discovers this, she does everything she can to put a stop to him. This is the best segment of the film and, in my opinion, ranks among the best of all the segments of the series. It takes a very different direction by being mostly a documentary about the titular character rather than being just a straight story. Its commitment to this format makes it feel fresh and entertaining, and even though the final act kind of breaks the found footage format, it still comes to a fun and scary conclusion. Tape 2: Parallel Monsters A Mexican scientist builds a portal to a parallel universe. When he and his double swap worlds, they discover that their worlds are different to a horrifying degree. This is the one segment of the film that fully commits to the found footage format. It is told from the cameras of the two scientists. It is also entirely in Spanish, so a warning to anyone who doesn’t like to read subtitles. It’s a strange story that throws a ton of subversive images our way without ever giving us a full explanation of what’s going on. It’s fun and atmospheric, but goes into very surreal direction that may not be to everyone’s liking. Tape 3: Bonestorm A group of teenagers are attempting to film an amazing skateboarding video. When they decide to take their production to a mysterious ditch in Tijuana, they fight for their lives against a violent Satanic cult. This segment feels most like a traditional V/H/S story, with a strange yet scary story told mostly through low-res cameras that give it a gritty look. Though the characters aren’t the most likable bunch, the way directors Justin Benson and Aaron Moorhead slowly build up the tension and mystery make for a fun slice of found footage horror that ultimately comes to a satisfying, and decidedly non-traditional, conclusion. Deleted Tape: Gorgeous Vortex This segment was deleted from the final film because the producers felt it didn’t fit with the overall feel of the film, and was made available at the end of the credits on the DVD. The segment is mostly shot like a standard film, and feels more like a pretentious student film rather than a segment of a horror anthology. It’s almost impossible to figure out the story, and it’s easy to see why they left it out. You’ll be better off skipping this one short, and since it’s only available after the credits, that’s easy to do. Rated R for graphic and bloody violence, grisly images, sexual material, nudity and language.
Made and released less than a year after the first film, in some aspects V/H/S/2 is an improvement over the first film. It’s much more violent and grisly than its predecessor, and many of the segments are set in broad daylight. This successfully makes the films more terrifying, as you can easily see the threats coming your way. Basically, the stories this time around have a much more menacing atmosphere, while still retaining the elements that made the first film scary in the first place. Wraparound: Tape 49 Two private investigators are tasked with tracking the whereabouts of a missing college student, only to discover his own collection of terrifying video tapes and his research into their mysterious origins. The wraparound this time gives us a closer look at the video tapes the criminals watch in the first film. Though, also like the first, we don’t get the full picture, and their exact origins are only hinted at. This helps to up the tension of the potential damage they can cause without ever over explaining the concept to the audience. Also the characters this time aren’t as petty and selfish as the first group, and are more fun to watch as a result. Tape 1: Phase I Clinical Trials Having lost an eye in a car accident, a man has a camera implant installed to restore his vision. However, the implant has the ability to pick up the presence of violent ghosts who set their sights on him. This story had some of the best jump scare moments when I saw it for the first time. Many of the ghost come out of nowhere in a way that can really make you scream. It makes clever use of the camera eye concept and is a unique take on found footage. There isn’t much development in characters and motivations, and feels like a slice of a much larger story, but it still manages to create a tense experience. Tape 2: A Ride in the Park A biker rides right into the middle of a zombie invasion, where the Go-Pro on his helmet captures his murderous rampage when he becomes one of the flesh-eaters. This is one of the shorts that take place entirely during the day. The colorful world established around our leading character is juxtaposed with the bloody and mangled appearances of the zombies. Also, by making us watch from the lead’s perspective as he becomes one of the ravenous monsters, it adds a fresh layer to the zombie genre. Overall, this is a very well made little slice of horror that has loads of gore and a few surprises up its sleeves. Tape 3: Safe Haven A documentary crew films the activities of an Indonesian cult, which dabbles in mysterious activities. They soon discover that beneath the group’s angelic surface lies something much more sinister. This is the longest of the four stories, and by far the best of the bunch. It’s the most well made, with the production design and visuals creating a creepy atmosphere that puts us on edge from the moment the crew enters the home of the cult. It’s a nightmarish journey that keeps us on the edge of our seats until the conclusion that is almost guaranteed to send chills down your spine. Tape 4: Slumber Party Alien Abduction Friends hosting a sleepover at their lakeside home fight for their lives when they become the targets of a group of aliens. In the end, this is the weakest of the collection. I do appreciate the use of a GoPro camera that sticks with the low-res look synonymous with the series. But the characters aren’t entirely likable; mostly just playing mean pranks on each other before being picked off one by one with aliens. And with their cute little dog brought along for the ride (the camera is hooked onto his back), it isn’t fun to hear him constantly whimpering from fear and pain during the invasion portion. Rated R for bloody violence, strong sexuality, graphic nudity, pervasive language and some drug use.
An anthology of five different segments, V/H/S is a collection of terrifying, almost nightmarish stories that all utilize the found footage genre in very unique and creative ways. Each short breaks away from common horror clichés and offer subversive twists on both familiar concepts and somewhat underused elements of the genre. To cover a film like this, I will be reviewing each segment on their own, since they do vary in quality. Wraparound: Tape 56 A group of petty criminals are hired to find a video tape in a decrepit mansion. What they discover is a cryptic collection of tapes, each more disturbing than the last. The strongest part about this frame story is the use of low-res cameras, which makes it seem like more genuine found footage. Yes, the characters are hard to like. They are basically criminals who do terrible thing to others just to make a quick buck. So, it does feels satisfying to watch them die throughout the runtime. But it’s the mysterious atmosphere that makes this scary. Tape 1: Amateur Night Three friends attempt to use a pair of video spyglasses to film a porno with two girls, only to discover that one of them isn’t what she appears. A lot of what makes this short work is the performance of Hannah Fierman as the mysterious Lily. From her just lurking in the background to being at the forefront, she really puts us off with her demeanor. Then when the action really ramps up, she feels like a genuine threat; and the fact that we don’t know much about her makes her even creepier. Overall, this is a strong segment to begin the film with. Tape 2: Second Honeymoon A young couple on a romantic vacation find themselves stalked by a mysterious woman with a surprising connection to them. Ti West is an immensely talented director. He is consistently able to craft great atmospheres from old fashion suspense. However, one of his bigger weaknesses is his work as editing, since he edits all his own movies. They always seem to tote the line between suspenseful build-up and just plain slow. This is especially true in his segment, when compared to the rest of the film. Every other segment is fast paced and more visceral in their horror, while West’s segment is very slow paced. Very little in the short actually pushes the story forward, and we’re mostly left with footage of a couple’s vacation. It’s not really a bad film, but when compared to how “in your face” the other stories are, it’s definitely the weakest of the bunch. Tape 3: Tuesday the 17th Four college friends on a weekend trip to an abandoned campground are stalked by a psychotic killer, but neither he nor one of the teens is who they say they are. A satire of slasher film conventions (right down to its title), this segment is very creative for the way it subverts the genre. The idea of a killer that only appears on screen as a cluster of static glitches is one of the most interesting aspects. It’s so cool that it’ll make you wish that he had his own movie. This short shows how creative found footage can be when used by the right filmmaker with the right ideas. Tape 4: The Sick Thing That Happened to Emily When She Was Younger Told entirely through video chat, a long-distance relationship takes a disturbing turn when the woman believes her apartment is haunted. While its final twist is interesting, this is one of the weaker shorts. As one of the first things to be shot from the perspective of webcam shots, its visual execution is the strongest part about it. There’s just nothing in terms of the characters that truly compelling. It’s still a fun short to watch, but when compared to the others in the collection, this one feels pretty standard; or like a calm before the the next major short. Tape 5: 10/31/98 Four friends heading to a Halloween party arrive at a real haunted house and find themselves the victims of a malicious supernatural threat. This is a very rare case where they saved the best for last. This segment is truly terrifying, mostly thanks to the very impressive special effects that create some very convincing and affecting nightmarish images on its low-res camera. From hands reaching out of the wall to an exit door that slowly morphs into the wall, all of it looks to so real and feels like a true threat. It’s also aided by the chemistry and performances of the four leads (who are also the short’s writers and directors). They feel like real best friends who we want to survive the ordeal. This ending segment makes it totally worth the journey, leaving the film on a very haunting note. Rated R for some disturbing violence, language and sexual references.
App designer Matias (Colin Woodell) has just acquired a new laptop in order to complete the app he has made for his deaf girlfriend Amaya (Stephanie Nogueras). On this night, Matias is scheduled to participate in a game night with his friends Nari (Betty Gabriel), Serena (Rebecca Rittenhouse), Damon (Andrew Lees), and AJ (Connor Del Rio) over their private Skype conversation. But Matias has attracted some unwanted attention, because his new laptop isn’t exactly “new.” Turns out, he swiped it from a coffee shop lost and found. When they discover violent videos of tortured girls, they realize the owner must work on the Dark Web, trading the videos with other users. Things get more complicated when the owner and his group infiltrate their chat, and the group is forced to play along with their games if they want to survive. Unfriended: Dark Web is a standalone sequel to Unfriended, bearing no connections or continuations to the first film’s story at all. Instead, we switch from a supernatural threat to the world of the titular Dark Web. Along with this, and the more realistic/likable cast of characters, this is a sequel that improves upon its predecessor in almost every aspect imaginable. Personally, I like that the movie focuses on a less supernatural story. There is far more potential in exploring the world of underground hacking and trafficking rather than ghosts invading a desktop. It isn’t really a deep exploration of the concept, and mostly feels like a springboard for peoples’ inherent fear of being spied on. But the story they do choose still creates some very effective scares like in the first one. The cast is also much more talented this time around. The characters they play aren’t just stock horror clichés, though they’re still defined by just basic personality traits. But the advantage they have over the first film’s cast is that they’re much more likable people; being good people who are thrown into a situation where they have to fight to survive. They are much easier to root for because we actually want them to win, rather than being terrible people that we don’t mind seeing killed off. And the actors turn out really good performances in the end. What makes them work is the chemistry they have with each other. They feel more like a lovable group of friends than the characters in the first film. They are also great at instilling fear in their roles when the fight with the hackers begins. Woodell, in particular, does well with this as he looks like he’s about to loose his sanity as his life hangs in the balance. The visuals are also better than the first film. The filmmakers continue to mess around with the basic interface in ways that make it feel unsafe during the growing horror. And with the addition of the Dark Web sites, there is more creativity to be had. Even if the glitch effect the hackers use to block their faces is a bit unrealistic, it helps to establish them as a genuine threat to our characters. Unfriended: Dark Web continues to expand the potential of the computer screen film by using the format to examine the horrific world of the Internet. Everything from the characters, to the actors, to the script and visuals are improved from the first film in the series, and successfully breaks away from most of the basic horror tropes that film was so intent to rely on. It’s a much more entertaining film that you may get a kick out of more than its predecessor. |
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