Found Footage 3D Review
The Plot
A group of filmmakers set out to make the first 3D found footage horror movie, but find themselves IN a found footage horror movie when the evil entity from their film escapes into their behind-the-scenes footage
The Good
The slasher genre has Scream, and now, the found footage genre has its equivalent in Steven DeGennaro’s fantastically written horror which sends up the genre perfectly, yet still manages to adhere to the rules. Focusing on the making-of documentary, Found Footage 3D sees 6 budding filmmakers trek out to a lonely cabin to try and break new mould in the found footage genre by adding a 3D element. Headed by the arrogant writer/lead actor Derek (Carter Roy), the film mixes it’s film-within-a-film neatly into the storyline as Derek’s idea, titled Spectre, struggles to stay alive with its ending still in limbo and a 3D enthusiasm for its lead character stapled in as a last minute explanation for the films stereoscopic style.Where Found Footage really succeeds is in its on the nose humour and ironic approach to the rules of the genre.
It’s not all tongue in cheek though. In its heart Found Footage is still a worthy addition to the genre and is better than most of the films that are churned out of the franchise these days. As director Andrew (Tom Saporito) wisely acknowledges, a found footage film needs to answer two main questions correctly in order for it to work, first: why are we filming? and second: why are we STILL filming? While Spectre doesn’t succeed in this respect, especially in terms of the second question, Found Footage manages to find a way to answer both perfectly.
Then there’s the horror element. Most of this is done through it’s irony, with Spectre’s scenes setting up an incoming jump scare for the audience which is practically pre warned, only to jump out before the fictional cameras start rolling. In addition to this we have Derek’s on set antics in which he attempts to keep the reality of the found footage idea alive outside of the film, adding to the unease.
The Bad
While Found Footage manages to skirt around most of the problems that come with the genre, there are still some elements that occasionally seep into the film that unfortunately can’t be completely deleted. One such problem is the camerawork, most of which is fairly stable but especially in its final moments becomes much more haphazard and travel sickness inducing.
The Ugly Truth
Steven DeGennaro has struck gold with the found footage genre in the same way that Scream did with the slasher, 20 years previously. It might not be enough to breathe new life into the idea that has been done to death by now, but it’s certainly one of the best attempts in a long time.
Review by Johnny Ellis
Knucklebones Review
The Plot
A group of bored college students unleash a murderous demon while playing a dice game made from human knucklebones.
The Good
Writer Mitch Wilson’s directorial debut brings one of the most exciting horror villains to life in the form of Knucklebones, a skull-headed demon who terrorises a group of young teenagers after they decide to play with pentagrams. Which is really never a good idea when it comes to horror. Fantastically played by Tom Zembrod, Knucklebones has managed to establish himself as an iconic horror villain that takes the bloodthirst of Jason Voorhees and the darkly camp humour of Freddy Kruger and mashes it together perfectly. Whether he’s terrorising his victims with his spine-tingling stalking skills or busting out some killer gags during his kills, Knucklebones is the first success in horror icons for a long long time.
Set in an abandoned warehouse where our main heroes decide to hang out in order to cheer up Neesa (Julin) after a breakup leads to a suicide attempt. Julin brings a strong central performance to the screen with the script managing to set up the premise at a steady pace which is surprising considering the three separate introductions it offers, first in 1944 with Nazis attempting to meddle with the cursed game, then again in 1977 where a young boy gets involved with Knucklebones, before landing on present day. It might sound like a lot but Wilson’s script manages to make the time fly by.
The Bad
If you’re going in expecting a great piece of filmmaking you may feel short-changed by the time the credits roll. It’s certainly no Shining, and really should be approached with the same attitude it clearly had during filming; good gory fun.
The Ugly Truth
At its essence, Knucklebones is a love letter to the slasher films of the 80s with some clear inspiration taken from icons such as Freddy and Jason, while still managing to produce an instant icon of its own. Here’s hoping this is just the start of the Knucklebones franchise.
Review by Johnny Ellis
The Love Witch Review
The Plot
Lovelorn young witch Elaine (Samantha Robinson) uses spells and potions to bring her everlasting romantic happiness.
The Good
Writer-director Anna Biller brings the years most beautiful film to life in this lovingly created world which offers up a symphony to exploitation cinema of the 60s and 70s. Samantha Robinson `brings a stunningly evocative performance to the screen as the titular Love Witch, Elaine, who moves to a new neighbourhood after becoming widowed from her previous boyfriend, in search of new love. Biller’s script manages to mix a strong female protagonist with the dated ideals of the films that inspired it as Elaine goes through life dreaming of being the perfect housewife for a willing man, only to have her exploits cut short by tragedy each time.
Set upon a backdrop of stunning scenery and cinematography that feels like it’s been plucked from the 1960s, it is hard to remind yourself that this is a modern film. With each and every costume detailed perfectly to bring this strange and wonderfully alluring world to life, The Love Witch feels like a film that could loop on your screen forever and never lose its charm.
The Bad
There really isn’t much to say against the film as a whole, but a couple of blink and you’ll miss them references to a world much more modern than the film originally sets out to portray, can’t go unmentioned. For much of the film, the set design is an utter joy to let wash over you, however, unfortunately things such as modern day cars in the frame can feel slightly jarring. This wouldn’t be too much of a problem had it been able to have been passed off as a simple mistake during filming. But then the idea of two vastly different time periods being mixed together is confirmed once more when a mobile phone appears and is used to further the plot. Had Biller simply kept the tone of the film firmly in the past, The Love Witch could have become an instant classic to be lost in amongst the cinema of a time gone by which clearly inspired it.
The Ugly Truth
Anna Biller has created one of the most stunningly attractive films of recent years which is at times surprising to remember it was made in the 21st century. Unfortunately the illusion becomes shattered a few times with the use of modern technology which ultimately feels incredibly out of place.
Review by Johnny Ellis
David Brent Life On The Road Review
The Plot
A camera crew catches up with David Brent (Ricky Gervais), the former star of The Office, as he now fancies himself a rockstar on the road.
The Good
Ricky Gervais’ most infamous creation returns to our screens and is bigger and better than ever in a new mockumentary that follows everyone’s favourite manager as he attempts to make it big in the music industry. It’s been thirteen years since The Office left our television screens but David Brent is still the same hilariously cringy character we know and love. Now working as a sales rep, Brent decides to use all his savings including his pension to take his band, Forgone Conclusion on the road for a tour.
As usual, Gervais’ writing is spot on with a constant stream of laughs from the very beginning. Part of this genius is in the songs which Brent performs himself with hilariously factual lyrics such as ‘Slough’ (‘equidistant ‘tween London and Reading’) and Native American’ (‘We’re more like west eurasians crossed with Siberians’). Each song drips with Brent’s trademark awkwardness.
Where the film works best however, is in its heartbreakingly funny scenes. Brent was always a character who was just devastatingly funny and it’s no different here. Whether he’s being kicked off his own tour bus to follow behind alone in his car, or having to pay his band to hang out for a post-gig drink, Gervais manages to tread the line of humour and empathy perfectly.
It’s not all about Brent though. Doc Brown gives a wonderful performance as Dom, Brents long-suffering rapper for the band who is brought on stage to accentuate certain songs thanks to his ethnic background. Not only is Brown a fantastic rapper, he also gets plenty of chances to showcase his acting skills as he puts up with Brent.
The Bad
As fun as it is however, Life On The Road does hit some bumps along the way especially towards its final third. Gervais’ directing style tries to stay true to its mockumentary origins but often slips into certain shots that just don’t fit the aesthetic. There’s also at least one slight glimmer of Gervais projecting a touch of Derek, his last TV character which, if you manage to spot it, can take you out of the film for a brief moment.
The Ugly Truth
Gervais brings some genuinely heartwarming moments and sidesplittingly hilarious ones to David Brent’s big screen outing. While there are issues with the films overall style, the substance is often more than enough to make you forget about it pretty quickly. Frankly though, it’s worth the price of admission for the soundtrack alone.
Review by Johnny Ellis
Lights Out Review
The Plot
When her little brother, Martin (Gabriel Bateman) experiences the same events that once tested her sanity, Rebecca (Teresa Palmer) works to unlock the truth behind the terror, which brings her face to face with an entity that has an attachment to their mother, Sophie (Maria Bello).
The Good
Based on the short film of the same name, Lights Out expands the terrifying idea of an entity which can only be seen in the shadows when the lights are out and brings with it an often touching plot which explores themes of depression. David F Sandberg gives a technically brilliant piece of filmmaking in this, his feature length debut which uses its lighting in an impressive and terrifying way. Whenever the lights are off, you will undoubtedly find yourself searching, Where’s Wally style for any ominous shadow that could potentially be lurking in the background.
Perhaps the best use of this comes in Rebecca’s room which is has a flashing neon Tattoo parlor sign constantly flicking on and off bathing the room in blood red between brilliantly effective cuts of the shadowy adversary scratching on the floor menacingly. The plot, which centres around Rebecca and Martin as the latter starts to experience a spine-tingling home environment trapped alone with his mother and her apparent friend lurking in the shadows, is heightened by the wonderful performances from the two leads who have a truly believable chemistry as brother and sister. The idea of Martin’s problems at home echoing that of Rebecca’s childhood is put to work in a brilliantly effective flashback showing a young Rebecca’s experience. With Martin not having yet given up on his mother and determined to help her unlike Rebecca who has not kept in contact since moving out is a juxtaposition that works well and advances and adapts as the story moves forwards in a realistic way.
The Bad
It’s a shame then, to see that the film relies far too heavily on jump scares in order to amp up the horror. This wouldn’t be much of a problem were it not for the jarring use of music in order to make the jumps bigger. Fortunately the method appears to die down a bit in it’s latter half but the damage is already done. It’s especially disappointing because the concept works incredibly well and could have been just as effective, if not more so without the soundtrack added in.
The Ugly Truth
A brilliant concept and interesting storyline, with some effective use of the theme of depression is lessened ever so slightly by it’s adamant use of jump scares in such a typical way. Lights Out is still effective throughout but tends to work best through its use of lighting rather than its soundtrack.
Review by Johnny Ellis