The Screengrab : blair witch project

Independent Film Festival of Boston Reviews: Song Sung Blue, Second Skin, Not Your Typical Bigfoot Movie

Andrew Osborne — Mon, 28 Apr 2008 18:00:00 GMT

Song Sung Blue: In this documentary about “Lightning & Thunder,” a husband and wife Neil Diamond/Patsy Cline tribute band, the appeal of the group’s success is attributed to the fact that, like Diamond, they and their Milwaukee fan base are “normal.” That adjective, however, may not be the first that springs to mind when viewing this quirky, moving and often harrowing depiction of the rewards and hard realities of low-level show biz dreams. Director Greg Kohs makes the most of his (sometimes uncomfortably) intimate access to his subjects’ lives, capturing a real world soap opera of triumph, tragedy, and the unexpected magnanimity of Eddie Vedder.

Not Your Typical Bigfoot Movie: And while we’re on the subject of seemingly whimsical but ultimately depressing depictions of American eccentrics, this barely feature-length documentary follows a pair of hard-luck backwoods Sasquatch enthusiasts who invest so much of their time and self-esteem in pursuit of the titular monster that I began to wonder if the whole movie was not actually some kind of giant Blair Witchy scam. If not, then the likeable, desperate true believers depicted here by director Jay Delaney (more or less without exploitive condescension) really need a more productive hobby (but then again, as an underviewed, D-List blogger, I suppose I’m hardly one to judge)!

Second Skin: And speaking of questionable hobbies, this interesting but seriously overlong documentary by Juan Carlos Pineiro Escoriaza utilizes geek-tastic computer graphics, talking head experts and a likeable ensemble of misfits to offer a relatively comprehensive survey course on the positive and negative societal and individual aspects of spending way, way, way too much time online playing Massively Multiplayer Online Role Playing Games (MMORPGs) like World of Warcraft and Everquest. But, like a marathon session playing actual video games, the initial enjoyment factor here eventually gives way to numb-ass claustrophobia and a nagging awareness that you should probably be doing something better with your time.

(For a second opinion, be sure to check out Scott Von Doviak’s SXSW review of Second Skin.)

Review: Diary of the Dead

Peter Smith — Wed, 20 Feb 2008 18:07:00 GMT

Diary of the Dead is the latest in George Romero's now forty-year-old "[Noun] of the Dead" franchise. It's back-to-basics in tone and production, after 2005's massive Land of the Dead. It would be easy to accuse Romero of trend-hopping, based on the film's "found footage" presentation and release in proximity to Cloverfield and Brian De Palma's Redacted. But the film parts from the recent surge of Blair Witch-ian diegesis by opening with narration: a character explaining that she's edited and produced the film you're about to watch with the intent not just to record but to frighten. Instead of coming off as pretentiously meta, this contextualizing helps you suspend your disbelief. Romero makes the most of that suspension, and the result is a strange movie that succeeds far more often than it fails.

Foregoing the established continuity of the previous Dead films, Diary begins on day one of the zombie apocalypse. A group of film students are shooting a horror movie in the woods when they hear on the radio that the dead are rising from the grave. It's a simple set-up, colored by Romero's trademark winking humor, but it works thanks to the reactions of the cast. There's no panic, just a dumbstruck acceptance. Protagonist Jason continues to film as the group begins their journey to his girlfriend's home. Where Cloverfield and Blair Witch used a camera-wielding character to emphasize how technology acts as a buffer between humanity and disaster, Jason's compulsion to keep documenting the end of the world is actually the core conflict in Diary of the Dead. The camera, the character it's tied to, and its angry, incredulous subjects emphasize conflicting human impulses during disaster: do I document or do I help. As one puts it, "I want to help them, but I can't, cause I'm fucking plugged in," and to Romero, that about says it all. — John Constantine

Vanishing Act: Daniel Myrick & Eduardo Sanchez

Scott Von Doviak — Thu, 17 Jan 2008 17:00:00 GMT

Filmmakers disappear for all sorts of reasons. Eccentric geniuses like Kubrick and Malick are known for taking many years between projects and working in complete secrecy. Actors (Charles Laughton, Marlon Brando) and writers (Dalton Trumbo, Stephen King) may dabble with one-and-done efforts and never return to the director’s chair. An Ed Burns may make a big splash with his debut, churn out a series of increasingly lame follow-ups, and eventually find himself releasing his films directly to iTunes.

For this inaugural edition of Vanishing Act, we set the wayback machine for the summer of 1999, when Blair Witch mania swept the nation. Unknown filmmakers Daniel Myrick and Eduardo Sanchez hit upon an ingenious plan for making the most of their microscopic budget, using the mockumentary format to not only justify their jittery digital images but to amp up the "you are there" horror of three amateur filmmakers encountering evil in the woods. The Blair Witch Project was also a pioneer in the realm of viral marketing, using the web to generate underground buzz over whether or not the film was "real." Its influence can be seen in two movies releasing this week: Teeth explicitly mentions Blair Witch in its TV ads, while Cloverfield appropriates both the shakycam immediacy and the viral approach.

When Blair Witch grossed an astonishing $140 million at the box office, it seemed that Myrick and Sanchez were sitting pretty. They had the good sense to steer clear of the stinkeroo sequel Book of Shadows: Blair Witch 2, except as nominal executive producers. Their next announced collaboration, Heart of Love, was to be a complete change of pace, a screwball comedy described by Myrick in several interviews as "the most politically incorrect movie imaginable." Several web sites (now long defunct) were launched in hopes of recapturing the viral magic of their first collaboration, but the movie’s production was delayed over and over while the directors squabbled with distributor Artisan over Blair Witch profits and the project died quietly.

Despite their tiff with Artisan and mutual antipathy toward the failed Book of Shadows, Myrick and Sanchez toyed with making a Blair Witch prequel before finally going their separate ways. So what have they been up to lately?

This 2005 profile of Sanchez from the Baltimore City Paper finds him in pre-production on Probed, an “alien sci-fi horror monster movie” that was released straight to DVD as Altered in 2006. In a three-skull review (I think that’s a good thing), Fangoria.com notes that the effects-based set pieces are “a far cry from the psychological terrors of Blair Witch,” but that “Sanchez’s work on Altered shares with that previous film a keen sense of downward-spiral pacing.”

Myrick directed The Strand, which originally appeared as a series of webisodes about oddball characters on Venice Beach, CA, and Believers, a straight-to-video thriller about a dangerous cult. In this recent interview, Myrick discusses his new project The Objective, as well as the possibility of working with Sanchez again and maybe even reviving that Blair Witch prequel.