The blair witch project 2016 online sub full#
Meanwhile, a dip into Cronenbergian body horror, as the Blair terror (or perhaps just a delusion thereof) gets more literally under one character’s skin, is likewise shrugged off before it achieves full formation. A potentially elegant time-warp device that removes the guarantee of reassuring guaranteed daylight from the equation - a potential flourish of genius for any dead-of-night chiller - is raised, before going summarily unexplored. When the pandemonium sets in, Wingard and his crew conduct it with aggressive aplomb, shooting, cutting and scoring proceedings in quick, blunt strokes to work up a full horror-movie sweat while preserving just enough raw, haphazard found-footage flavor to honor the original conceit.īut once the film’s blood is up, its brain freezes, bypassing a lot of its own best ideas in the panicked chase. Wingard plays his cards in commendably deliberate fashion, steeping his audience for a good half-hour in the generally morbid atmospherics of the setting and situation - tossing in disconcerting incidental details, like the unexplained Confederate flag in Lane and Talia’s living room, for bonus anxiety - before things start to go bump, and snap, and crackle, and aaaaaargh in the night. That’s about as much as can be given away without spoiling the enjoyment for eager franchise followers - those seeking a pure-as-the-driven-snow first viewing should probably sign off here. It’s not long before the tension between Lane and Talia’s hushed reverence for all things witchy and the college kids’ more circumspect approach sours the expedition, though when darkness falls, human animosity becomes hard to separate from more uncannily threatening omens. His quest interests college pal and tentative girlfriend Lisa (Callie Hernandez) enough for her to make it the subject of her graduate documentary project, so off to the Black Hills they go, with coupled-up friends Ashley (Corbin Reid) and Peter (Brandon Scott), not to mention an impressive array of camera equipment, in tow.īefore they can forge ahead, however, they reluctantly agree to collaborate with local guides and Blair Witch geeks Lane (Wes Robinson) and Talia (ensemble standout Valorie Curry, channeling a gothed-out Jennifer Lawrence), a spacy, sun-starved pair who believe in the Blair legend to an unsettling degree. Seventeen years after Heather Donahue went missing in the Maryland wilderness while searching for the Blair Witch, her kid brother James (James Allen McCune) is still desperate to find out what happened to her - and instinctively convinced that she’s still alive.
The setup, then, is simple enough, turning the events of the first film into something of a tortured family legacy for its principal new adventurer. The opening scene, in which grainy, grisly visions of terror from the original film’s climactic cabin in the woods are revealed merely as YouTube footage of questionable provenance, wrongfoots the audience in more ways than one: It hints at a deeper probe into the colliding realities, fantasies and fabrications that seemingly keep the eponymous legend alive, but Wingard has no interest in exposing, à la Joss Whedon, the rules of the enigma. Even as the tropes and techniques of “The Blair Witch Project” (whose creators, Daniel Myrick and Eduardo Sanchez, have executive-producer credit here) have become routine fodder for parody, Wingard and Barrett largely eschew any “Scream 2”-style bracketing of the original film’s lore in a more ironically knowing universe.
A whole lot more than $60,000, the famously minuscule cost of the 1999 sleeper, has been spent on making “Blair Witch” look and feel as scrappily homemade as possible - faking it so real, so to speak - albeit with a little 21st-century help from drones, personal camera technology and a cracking, crunching studio sound mix that may just be the true star of the film.Īny viewers waiting for an ironic subversion of those basics, however, may be frustrated. A significantly more accomplished and entertaining sequel than 2000’s woeful cash-in “Book of Shadows: Blair Witch 2,” “Blair Witch” nonetheless reps something of a missed opportunity from Wingard and writer Simon Barrett, who so deftly and wittily updated 1980s horror form in their terrific, thumbscrew-tight features “You’re Next” and “The Guest.” The very title of the new film augurs a back-to-basics approach, significantly inflated budget notwithstanding, and it delivers basics in spades: a clammy-handed fear of the dark, ambiguously sinister pagan-style iconography, and so many thumpingly executed jump scares that even the characters call for a respite.
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