THE BIGFOOT FILES | Chapter 6: Big Legend

(Editor’s note: This review contains major spoilers.)

The 2018 horror film Big Legend, written and directed by Justin Lee, is a no-frills creature feature, meaning diehard Bigfoot fans should enjoy the 89-minute ride. I know I did.

Set in the Gifford Pinchot National Forest, Big Legend opens with couple-in-love Tyler and Natalie about to embark on a camping trip. Tyler (Kevin Makely) is a former soldier and hopes to make the excursion extra special for sweet Natalie (Summer Spiro).

However, romance transforms into tragedy during the first night. Natalie hears wood knocks and guttural growls outside their tent. Tyler leaves to investigate, a decision he’ll regret for the rest of his life. Some kind of beast grabs the tent and drags it along with Natalie into the darkness where she disappears.

Twelve months later, Tyler is dealing with survivor’s guilt on his final day in a psychiatric ward. He tells psychiatrist Dr. Wheeler that he believes Natalie was attacked by a bear although her body has never been found. Amanda Wyss portrays Dr. Wheeler. You may remember her as the iconic Tina Gray in the body bag, Fred Krueger’s first victim in the 1984 horror film A Nightmare on Elm Street.

Tyler doesn’t really believe Natalie’s disappearance is bear-related, and the anguished soldier discusses his decision to search for Natalie with his mother Rita. It’s the most heartfelt scene in Big Legend. Rita is portrayed beautifully and too briefly by another horror icon, Adrienne Barbeau. You may remember her as radio DJ Stevie Wayne in the 1980 horror film The Fog.

The authorities drop off a box of items, including Natalie’s digital camera, left behind at the campsite after the attack a year ago. Tyler starts flicking through the photographs and stops at a random picture with a shadowy figure lurking in the background. That was my favorite moment in Big Legend. It was perfectly eerie.

His suspicions almost confirmed, Tyler loads up his gear and returns to the scene of the Bigfoot crime. During his search for answers, Tyler encounters another hunter named Eli, portrayed by character actor Todd A. Robinson.

Bigfoot is protective of his territory, and the human duo faces off against the beast in a tense showdown that had me flashing back to the 1987 sci-fi horror film Predator when Dutch (Arnold Schwarzenegger) tires of being the hunted and decides to challenge the alien.

The most important feature of a Bigfoot movie is the Bigfoot, and I’m pleased to report the makeup department of Angela Bulmer and Jill Colwell do a commendable job. Bigfoot looked suitably savage and realistic enough to me.

I recommend Big Legend to those of us who enjoy an outing with Bigfoot. It’s a gritty little movie with big aspirations. Seeing Wyss and Barbeau on the screen again after so many years was an unexpected delight. There’s even a cameo by horror icon Lance Henriksen (Pumpkinhead, Aliens) who drops by at the end to introduce an interesting twist to the story.

 

NEXT UP | Chapter Seven: Willow Creek. I review the 2013 horror film Willow Creek written and directed by Bobcat Goldthwait.

♦ ♦ ♦ ♦

LINKS TO PREVIOUS CHAPTERS OF THE BIGFOOT FILES:

THE BIGFOOT FILES | Chapter One: The Idea of Bigfoot

THE BIGFOOT FILES| Chapter Two: Dweller

THE BIGFOOT FILES | Chapter Three: Swamp Monster Massacre

THE BIGFOOT FILES | Chapter Four: The Road Best Not Taken

THE BIGFOOT FILES | Chapter Five: Wood Ape

 

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Live Action Reviews! by Crystal Connor: Aterrados

 

Master Imaginationist and Instagram photographer Crystal Connor is the Chief Imagineer working for the Department of Sleep Prevention’s Nightmare Division. A Washington State native she loves anything to do with monsters, bad guys (as in evil-geniuses & super-villains.  Not ‘those’ kind her mother warned her about), rogue scientific experiments, jewelry, sky-high high-heeled shoes & unreasonably priced handbags.

She is also considering changing her professional title to dramatization specialist because it so much more theatrical than being a mere drama queen.

http://wordsmithcrystalconnor.com

http://www.facebook.com/notesfromtheauthor

Download your free copy of …And They All Lived Happily Ever After! from Podiobooks.com and see why the name Crystal Connor has become “A Trusted Name in Terror!” 

http://podiobooks.com/title/and-they-all-lived-happily-ever-after

 

Movie Review: Within the Darkness

Movie Review: Within the Darkness

Within the Darkness is a horror movie written for those who love horror movies. It features a deeply rooted appreciation for the genre and uses the clichés to offer a fresh perspective interlaced with satisfying suspense. Horror Addicts will enjoy the scares, laughs, and twists. It is a special delight for those who are familiar with what has come before in the universe of haunted horror.

Something terrible happened at the Hewitt House. To this day, the ghostly inhabitants act out their tragic demises in an endless loop. For Austin (Dave Coyne), this provides the perfect opportunity.

Austin wants to make it big in Hollywood and he thinks he knows how to do it: a ghost hunting show. The Hewitt House provides the spooky backdrop, but Austin doesn’t believe anything will really happen, so he rigs the results, setting traps in the house to mimic a haunting. He’s helped by his girlfriend Lucy (Erin Nicole Cline) and a crew of skeptics.

But when a psychic medium, Meagan (Shanna Forrestall), arrives to help with the investigation, unexplainable things begin to happen. The crew descends into madness and the viewer asks: what’s really happening at the Hewitt House?

Within the Darkness is a self-aware horror film. The creators were familiar with the genre tropes and embraced them in order to use them in unexpected ways. From jump scares to psychological horror to paranormal events, they play the viewers expectations from start to finish. If you think you’ve seen it all in horror, Within the Darkness just might surprise you.

The Hewitt House has all the makings of a classic horror haunt, complete with long hallways, too many stairs, suspiciously creaky doors, and a lake dock just begging someone to come swim for all eternity. There’s no end to the shadows where danger lurks. Yet in the daylight, the house is a charming suburban fixture, seemingly too young to host anything evil. In a masterful understanding of the genre, Within the Darkness portrays the Hewitt House as quiet enough in the day to make the characters feel like they must have let their imaginations slip after dark.

The film’s central conflict is between ambitious and irreverent Austin and his girlfriend Lucy, who is more inclined to respect powers beyond her control. Their opposing opinions on the house and what exactly is going on inside tear a rift in the crew and amp up the tension as events escalate. Add in terrifying hallucinations and a host of spooky events and the crew stands all on edge.

While Within the Darkness employs a variety of disturbing imagery, one scene in particular stood out. Between excellent acting on the part of Jessie (Tonya Kay) and well-edited shots, Within the Darkness created a truly creepy illusion that stuck with me long after the movie ended.

At times, Within the Darkness takes comedic turns, barging into the territory of the absurd. This puts it in similar categories as Scary Movie, though without the cheap pop culture references. It shows a developed understanding of horror films and pokes fun at themes that are often overdone.

In general, I think of this as a parody movie that manages to sneak in some good suspense and horror between the satirical commentaries. Fans of horror who don’t take anything too seriously will enjoy this. It still has the spooky chops for those looking for a bit of fright in their night.

Movie Review: Apocalypsis

Movie Review: Apocalypsis

Welcome to a world where every conspiracy theory you’ve ever heard seems entirely real.

Apocalypsis introduces a world like our own, but which has followed a much darker path. The American government has implemented an ambitious project of surveillance and control. Most of the population is “chipped”—implanted with RFID devices that allow the government to monitor their activities. Cameras and drones are everywhere and AI tracks the population through facial recognition. Anyone who fights back is a target.

Evelyn and Michael are two such people.

Evelyn (Maria Bruun) is a deeply religious woman who draws her strength from her orthodox faith. She strives to help everyone in need, especially the downtrodden. In her quest for increased enlightenment, she experiences distressing apocalyptic visions while studying the book of Revelation. She sees the End Times in the world around her and becomes determined to act before it’s too late.

Michael (Chris O’Leary), a man with no faith, fights the increasing government control using technology and activism. He seeks to enlighten the populace and save them from themselves if he can. However, Michael knows he’s a hunted man and he wavers between going off the grid to save himself and risking everything to free society.

The film explores the relationship between Evelyn and Michael and their differing approaches to changing the world. Their common goals bring them together, but fundamental differences and deep-seated paranoia threaten to rip the friends apart. All of this take place against a high stakes background that keeps the audience guessing what the heroes can really do and what the final stakes will be.

Apocalypsis takes place in New York, where there are a million places to hide, but no real assurance that any of them are safe. In the city, people are everywhere and it’s impossible to know which ones can be trusted. The setting suggests a near future, where America is a hairsbreadth from martial law and every conspiracy theory you’ve ever heard is taken as absolute fact. You are being watched. You are in danger. The stakes have never been higher.

Michael takes the audience into the nooks and crannies of the city, where he hides like a rat and thinks like one too—survival always foremost on his mind. He showcases the modern side of the city, the underground tunnels and back alleys where he hides from sight, always in the dark, using his computer to fight for him.

Evelyn walks the streets of the most needy, reaching out everywhere she can. The moments of peace that she encounters are within the walls of her orthodox church. There she finds solace in something bigger than herself, a divine benevolent ruler at odds with the paranoid government that rules her on Earth.

Director Eric Leiser takes an artistic approach with the camera. Flashing imagery and overlaying shots create a surreal atmosphere. Evelyn’s visions of the apocalypse are animated, casting a sharp contrast from the rest of the film and heightening the feeling that they are unlike anything that she has seen before.

Apocalypsis delves into the question of religion versus action and what really creates a “good” person. What role does faith play in motivating someone to take action? Evelyn has her faith and good intentions, but is that enough? Does Michael’s single-minded purpose blind him to harm that he may be causing with his zeal?

Apocalypsis is a horror think piece, delving into dystopian and science fiction genres. There isn’t any overt gore or jump scares. Rather, the horror manifests as a lingering sense of dread as you wait to see what happens to the characters and their world. All the while, you question how far Apocalypsis really is from our world right now.

Movie Review: Wastelander

In a post-apocalyptic world, what remains of the human race clings to life in a vast, desert wasteland. A rampant slave trade, gangs of cybernetic bandits, and sinister warlords plague the land. Rhyous (Brendan Guy Murphy), a lone fighter, searches for Eden, where the remnants of civilization are rumored to remain. Taunted by incomplete memories of pre-war society, Rhyous fights the urge to succumb to savagery and greed, even as he must fight to stay alive.

Wastelander follows Rhyous in his search for Eden and takes us through the last dregs of humanity. The movie is an action filled romp, a la Mad Max. The overarching theme about finding humanity—whether by returning to the old or blazing a new way—ties rival groups together and pushes them apart. Greed and survival fuel ganglands style wars where the price of any misstep is death. Still, slivers of humanity peek through scenes of violence, as Rhyous shows the kind of compassion that seems to have gone extinct.

Rhyous is paired with tough-as-nails Neve (Carol Cardenas), a former slave who doesn’t back down in the face of a fight. Neve humanizes Rhyous in a surprising way, bringing out a protective quality, when Neve isn’t exactly a damsel in distress.

The fight scenes are creative and well choreographed, blending seamlessly into the violent landscape. A mixture of weapon types and fighting styles ensure that no battle is quite like the others.

Creators designed a full and engaging world for Wastelander . Pop culture advertisements linger in the most unlikely places long after the end of the world had come and gone, giving a fascinating look into the time before the wastes. The story has some creative high points when examining what it might mean for humanity to lose all knowledge of the world from before (“What’s ‘years’?”). The costumes offer a glimpse of how humanity would make the best of what resources were left. The film had a clear aesthetic style with regard to post-apocalyptic fashion. Creators merged functional items with a unique style that set the stage without saying a word. They did a lot with seemingly very little, using details to distinguish from the everyday.

The cinematography in Wastelander  fits well with the grim world it portrays. The desert landscape and lighting create a vision of stark lights and darks, much like the ‘rule or be ruled’ morality of the world portrayed. Any escape from the environment brings danger because if any resource is available, survivors can bet that someone else found it first. The film makes creative use of sets and props to find interesting ways to show characters interacting with their world.

Wastelander is a great blend of the action and science fiction genres, with elements of horror throughout. It has a violent edge, so it may not be for all viewers, but the concept and world building are worth experiencing.

Movie Review: The Campus

The Campus delivers on chills while paying homage to the breadth of styles that horror has to offer.

After her estranged father’s death, Morgan (Rachel Amanda Bryant) returns home for his funeral. She holds more hostility than love for her family, having been cast out before her eighteenth birthday, and uses the opportunity to burglarize her father’s business. But when she breaks into the studio campus after hours, she finds herself with more to worry about than security and shadows. Morgan finds a fate that she never knew waited for her—a supernatural death warrant her father signed before she was born—and falls into a rabbit hole of terror. She must discover how to escape the cycle of violence before she loses not just her life, but every piece of her soul.

Not satisfied with settling for a single horror subgenre, director Jason Horton uses a unique premise to blend many into one coherent film. Monsters, gore, psychological terror—they all have their place in The Campus. Each new style plays off the others, creating an atmosphere where the next fright waits just around the corner, or just behind the door, or maybe within Morgan herself. The question isn’t if Morgan will die a grisly death, but in which way?

Morgan is far from likable at first—too brash to gain sympathy and too bold for her own safety—but when the reality of her situation sets in, so does true fear. As a uniquely self-aware heroine, Morgan seems to know the ins and outs of horror films and just how to play the system to maximize her changes of survival, not that it saves her from repeated, gruesome deaths. She’s a scream queen who makes all the right choices while confronting her demons, metaphorical and physical, and still can’t escape. It’s the inevitability of the situation that breaks her and brings the audience along for the ride.

The Campus is set largely within the combination film studio and house where Morgan grew up. It’s a paragon of Hollywood—the perfect home that is really just a set with the reality of the studio just out of shot. This plays well with the fragmented personality of the film, showing the disparate aspects of Morgan, her life, and her soul. The confusing layout and mix of professional and personal turns the campus into a labyrinth. It asks the question: which parts of Morgan’s personality are real and which are simply a production? As the movie progresses, the fronts that Morgan puts up are stripped away and we see more of her natural self.

The Campus is a solid horror flick, one that horror addicts will enjoy regardless of subgenre preferences. It takes a new look at horror, hitting on popular themes and ideas in a way that keeps them fresh. There are monsters, blood and gore, and plenty of twists and turns for viewers who want to keep guessing until the last second.

The Campus is available to watch NOW on Amazon Instant Video.

Movie Review: Caller ID Entity

The messages are real.

Caller ID Entity is a modern horror think piece, capitalizing on a form of reality driven fear that has become increasingly popular lately. The movie derives from actual messages and testimonials of people claiming to have been the victims of mind-control experiments. While the messages themselves are harrowing, creator Eric Zimmerman transforms them into more than the crazed ravings of deranged individuals. The film asks: whom can you trust when you can’t trust yourself?

Caller ID Entity follows four young men—Dale (Denny Kirkwood), Miles (James Duval), Noah (Nathan Bexton), and Tristan (Triton B. King)—after they enroll in an unusual graduate study program run by Dr. Adam Whitney (Douchan Gersi). At the beginning, they all believe the goal of their research is to understand the causes of psychopathy, but, as the practicalities of their studies grow increasingly disturbing, the men realize that they’re into something far more sinister than they could have imagined. They are the latest victims in a mind-control experiment that challenges the very basis of humanity. The film follows them as they spiral deeper into madness and discover a network of survivors trying to expose the people who used them. They must separate truth from paranoia and find justice before time runs out.

Set in urban Los Angeles, Caller ID Entity capitalizes on the masses of humanity to reinforce the movie’s themes. People are portrayed as pawns—easily disposed and forgotten. Cellphones and cameras are everywhere in the city. When that technology can be used to hijack the mind, the threat is everywhere.

The cinematography reinforces this further. Caller ID Entity pulls from a variety of genres, using filming styles from documentaries, reality television, and experimental film. The result is a story that feels as if it takes place just on the fringe of reality. It walks the edge between life and fiction, between the belief that it could be true and the conviction that it is too crazy to be so.

Flashbacks, flash-forwards, and interviews break up the narrative, creating a looming sense of doom. We suspect throughout that there is no happy conclusion for the characters, yet we cannot turn away from their downfall. We are kept in suspense, hoping for any outcome other than the one we’ve glimpsed and wondering how anyone could fall so far.

The story has more than one basis in reality. A psychology experiment in the 1960’s found that people are willing to commit atrocities if pressured by an authority figure (interested? Look into the Milgram Experiments). This premise finds new life in Caller ID Entity, where the four young men find themselves involved in increasingly sinister experiments, spurred on by Dr. Whitney with encouragement that it is all for the betterment of mankind. While we may sit back and say we would never do anything so twisted, science says otherwise.

Caller ID Entity does not employ jump scares or extreme gore, but if you’re looking for a form of speculative science fiction or experimental horror that piggybacks off the everyday, this film is for you.