In 1999, terrifying footage found in a woodland area outside of Burkittsville, Maryland, shook the world.
The footage appeared to show the satanic attack on three documentary film students. They were declared missing, presumed dead and never seen again. This footage was compiled into a full-length feature documentary, titled The Blair Witch Project, which went on to gain a healthy 250 million dollars. Over 17 years later, it is obvious that the once viral sensation was a fabricated and scripted horror film with a promotional campaign meant to convince viewers what they were watching was authentic and real.
Although the thrill of the faux “found-footage” appeal has dissipated, Adam Wingard, director of “You’re Next” and “The Guest,” has attempted to reinvigorate the franchise with “Blair Witch,” a spirited, but sometimes clumsy attempt to scare theatre goers as much as the original.
It’s difficult to classify “Blair Witch.” It could be seen as either a franchise reboot, or simply a very delayed sequel.
In some ways it advances the story of the original, with lead actor, James Allen McCune of the “Walking Dead,” playing James Donahue, the brother of Blair Witch Project’s main character, Heather Donahue.
James scours the Internet looking for hints of his missing sister’s whereabouts. He still believes she is alive, and after finding hints of footage that appear to show Heather running through the famous abandoned house of the original film, he heads to Burkittsville hoping to find her alive.
James, a coincidental film student intending on documenting the search for a class project brings his friends Peter, Ashley and Lisa with him.
In the film, it is strange that Lisa has such advanced equipment for being an apparent undergrad film student. She has drones, headphone cameras and webcams with plenty of batteries and such to boot.
Sadly, this is just the first of a repeat series of contrivances that prevent the film from truly being something special, as it is obvious the filmmakers had to bend over backwards to justify some of the shots they wanted.
The film is best viewed without knowing too much going into it. Without giving too much away, James and his friends meet up with a creepy couple who take them deep into the Maryland wilderness, where supernatural events begin to haunt the group.
“Blaire Witch” does what horror films are supposed to do — it scares. The last 30 minutes of the film are a white knuckle inducing terror fest.
Wingard manages to create tension from the simplest scenarios.
His work is exceptional, but it is a shame that screenwriter Simon Barret lets him down with such a manufactured script. The film manages to often gain a full head of steam before stalling with either lines or situations that seem unnatural.
Perhaps with a better script and more experienced actors the film could be regarded as an important horror flick that re-invigorates the “Blair Witch” franchise, but the film is simply not smart enough to be truly revolutionary. Although the last act had my teeth clenched and knuckles white, the film whimpers its way to the end credits in an unsatisfying conclusion that begs for something as intelligent and mysterious as the original.
Ultimately, the film’s greatest sin is its unoriginality. If the filmmakers were unwilling to experiment and get creative with the franchise lore, why bother making the film 17 years after the original?
Sadly, instead of creating a memorable film, Wingard managed to craft a very entertaining, but ultimately uncreative franchise-sequel-reboot. Rather than trying to get dead franchises restarted, maybe Hollywood should start focusing on creating new content.
Sam Balas
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