Interview with Sevé Schelenz, Writer/Director of "Skew"

Hey, good people in all the zombie apocalypse shelters, I've a nice treat for you this time around.  You'll recall that recently, I reviewed an excellent found footage/point-of-view film called Skew.  I honestly enjoyed its mind-bending premise and intense atmosphere - as well as its gut-punching ending - and was thrilled when I got in touch with Sevé Schelenz, the writer and director of this fine entry into an often-crowded subgenre of horror.  He agreed to answer some questions about Skew, his influences, and where he's headed in the future.

So, ladies and gentlemen, allow me to introduce to you, my interview with Mr. Sevé Schelenz:

So, Sevé, what experiences inspired Skew?  What made you decide to go with the found footage sub-genre?

Sevé:  "I had been itching to do a feature film for some time as I spent the last while focusing on some independent television projects.  One of the biggest obstacles I faced was having enough money to make a film since all funds were coming out of my own pocket. I was also concerned with the film’s production value and if the audience would accept it.  I had seen my share of independent films that fell short because they attempted to make a Hollywood production without having the necessary budget.  Instead of falling into the same trap, I decided to turn this perceived limitation into an advantage.  Two days before an actual road trip with some friends, the idea of one of the characters filming the entire journey through a handheld camera struck me.  It had been five years since The Blair Witch Project had been made and I felt enough time had passed that stylistically another film in this same vein could be made.  Of course I didn’t want to copy what had already been done with The Blair Witch Project so I put my own spin on it.  I wrote the first draft within four days of my actual road trip, and a final script was completed in six months.  Without giving too much away about Skew, I think viewers will be surprised to find out that it is not actually a “found footage” film at all.  There was never any intention to have tapes found by some sort of authority and edited together for the world to see as a pseudo documentary.  Actually, Skew is a narrative film that just so happens to be filmed from the point of view of a video camera owned by one of the characters.  Of course it gets even deeper than that, but I will quit while I’m ahead so as not to spoil anything for the audience." 

How did you get into filmmaking?  Are there any directors or writers who directly inspire you, or have inspired you on your path?

Sevé:   "I began making short comedy films in my high school years.  I used to bug my family and friends to be in them all the time.  I had a camera strapped to my hand virtually at all times.  In my last year of high school I remember avoiding my guidance counselor, as he wanted to sit down and discuss my future plans for university.  It wasn’t until he told me that film school was an option that I actually took the time to look into it.  I assembled a portfolio of finished films and sent them off to each respective university along with my application and other prerequisites.  After graduating from the film program at York University in Toronto, Canada, I moved to the West Coast and found employment in the post-production field.  While working I continued to write, direct and produce various independent projects in the television medium on the side.  After a while, the filmmaker side of me started calling and I moved away from these independent television projects and focused on making features.  After working on a few film concepts and writing a comedy feature, I jumped headfirst into developing Skew and the rest is history.  In terms of film directors, there have definitely been a few who have inspired me.  Spielberg, Cameron, and Tarantino are at the forefront.  In terms of horror, I think Carpenter’s The Thing and Halloween have had a huge impact on the type of film I have made with Skew.  As a filmmaker, John Carpenter has shown that he really understands the source of what scares us and doesn’t let up on it." 

I absolutely agree with that!  How were you able to draw such natural, seemingly unscripted performances from the actors?

Sevé:   "Finding the actors for Skew was quite the feat as we had to go the route of non-union for the film because not only did we want unknown actors in order to maintain a sense of realism for the film, but we couldn’t afford to pay the union’s rate.  We had many interesting characters show up for our open auditions.  I have to tell you that the majority of these people should not be acting at all.  It almost got to the point where I saw myself having to play one of the characters in the film.  Finally we were blessed with Amber Lewis who initially read for the role of L.T.  Once we discovered her range, we had her do a cold reading for Eva right then and there.  She was offered the role on the spot.  Next was Richard Olak who read for the role of Rich.  He nailed it on the first try and was instantly hired.  The last major character we needed was Simon.  The instant Robert Scattergood began screaming his lines in terror, we were sold.  The key to getting these realistic performances from my actors – beyond the fact that they were very talented and professional to work with – was in the rehearsals.  We spent a large amount of time in pre-production going over the script to ensure the actors not only understood how to deliver their lines, but why they were being delivered in such a way.  We did not deviate from the script at all.  There are very few unscripted lines in Skew and once you see the film you will understand why.  Skew is as much a suspense thriller as it is a psychological horror and there are many pieces to the puzzle that were planted at very specific moments throughout the film. It was very important that the dialogue and action stayed true to this."

They really nailed it!  How important is it to add a psychological aspect to supernatural horror...well, any horror, really?

Sevé:   "Skew is the first feature I have written, directed, produced, edited and even partially filmed.  When I originally wrote my screenplay, The Blair Witch Project was definitely a catalyst for it.  One of the main devices used in The Blair Witch Project is anticipation.  I remember seeing this movie on opening night and feeling completely restless and apprehensive the whole time.  For me, a good horror film blends this feeling of nervousness with the unexpected jump-out-of-your-seat scares. You combine this with a good script with at least one brain-teasing, unforeseen twist and I’m hooked. When I see a horror film I want to be forced to think a little.  It doesn’t have to be overly complicated, but don’t dumb it down for the audience. I completely lose interest in your typical “paint by the numbers” horror.  The psychological aspect to horror naturally lends itself to anticipation."

Are there any other genres you'd like to tackle?

Sevé:  "In film school one of my screenwriting teachers preached the idea of picking one genre and sticking with it.  She believed in order to work in the industry you had to perfect one genre in to make money.  I disagree with this as I have plenty of ideas that span a wide range of genres.  I think it’s definitely important to not only master the basics of screenplay writing, but to do your research within the genre you undertake. For Skew, I watched Blair Witch roughly six times and focused on different aspects of the movie during each viewing. As previously mentioned, comedy had been my filmmaking forte in the past so I definitely see myself coming back to it in the future.  Yet, as of late, I have been working on a number of different genre pieces including a suspense thriller, another horror, and even a children’s film.  Did I mention the musical?  Just kidding." 

What are your future plans?  Any projects we can look forward to?

Sevé:   "Right now I am working on another horror feature with a writing partner.  We are fairly close to locking it and will begin our funding drive and pre-production soon.  I hope to go into production on this in early 2013.  I decided it was time to move away from the P.O.V. style and go with something a little more traditional.  There’s not much else I can say about the project except that it involves a lot of blood, boobs and black ooze.  As for the immediate future, I’ve been invited to judge the features at A Night Of Horror International Film Festival in Sydney, Australia, which I’m very excited about. Skew had its world premiere at this festival last year and won the Independent Spirit Award.  So I’ll be heading to Australia in March to hopefully see some great independent horror films.  In terms of Skew, we are coming to the end of our festival run—although we were just recently accepted into the StarLite Film Festival in Florida—and that puts our festival selection total up to forty-one.  We’ve also won seven awards including best feature, best actress and best director.  In addition to that we’re now available for streaming on Netflix in the U.S., DVD in Germany, and our most recent sale to Horror Channel in the U.K.  All in all, Skew has really had a great run and I look forward to our future release on DVD in North America." 

Sevé, a huge thank you for answering my questions! 

Sevé: "Thanks so much for taking the time to chat and help promote Skew.  I really do hope your readers have a chance to check it out at some point soon.  If they want more information they can check out our IMDb page at: http://www.imdb.com/title/tt1808477/, our YouTube link at http://www.youtube.com/watch?v=IjwBwuKD8mI, or Rotten Tomatoes at http://www.rottentomatoes.com/m/skew_2011/ to see what all the buzz is about.  I also encourage your readers to drop me a line through one of these sites if they have any questions about the film.  Thanks for supporting independent filmmaking, Dod.  Keep hacking and slashing away at those reviews!"

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Again, huge thanks to Sevé Schelenz for graciously and patiently answering all my questions!  Be sure to check out Skew on Netflix Instant.  Also, keep an eye out for Sevé and the great cast of this film. They're goin' places, I tell you!

And until next time, dear readers, always make sure you know exactly where your camcorder comes from...

The Innkeepers (2011) Go Ahead, Stay For A Night

Ti West has a bright future in filmmaking.

That needs to be said right off the bat.  The writer/director of The House of the Devil (which bears a second look from me) set out to make an homage/update to the classic haunted house story and - despite a near-miss of an ending (which I won't spoil here) - created a beautifully tense and suspenseful film with The Innkeepers.  West has an uncanny talent for setting up scenes and building tension, as well as drawing performances from the actors that fit the style of the film perfectly.  He's building on such a high platform that as his films get better and better, we're going to see more rich visual storytelling as the years and films go by.

The Innkeepers is mostly a two-character film, with Pat Healy starring as the snarky Luke and Sara Paxton as the enthusiastic, cute-as-a-button and asthmatic Claire.  Luke and Claire are the only staff on duty at the Yankee Pedlar Inn, a quaint little hotel that is on the verge of closing up shop.  Luke started a ghost hunting website and enlists Claire to help gather evidence.  Claire is gung-ho about finding out more regarding the local legend of a woman who hung herself after being stood up at the altar.  While the two take shifts, we focus mostly on Claire as she investigates strange noises and spooky hallways, rooms, and garages.

The inn is short on guests, but not short on creepiness.  There's a troubled woman and her young son (Alison Bartlett and Jake Schlueter), staying there as leverage in an argument with her husband.  There's also a famous actress turned psychic, Leanne (Kelly McGillis), who seems to know more than she's willing to let on.  A strange, sad older man (George Riddle) who insists on staying in the hotel room where he spent his honeymoon.  As the night wears on, Claire forms a bit of a bond with Leanne, whose steady drinking gives cause for skepticism from Claire, despite her fan-girl-ishness.  The woman and her son storm out after what they believe is shoddy treatment by the staff (causing some good lines from Luke), but Leanne stays.  After a big scare, Luke confesses his feelings for Claire in a roundabout way.  Yet after another big scare, he runs off, saying that his encounters with the local ghost were fabricated and the real terror he feels after exploring the basement is too much for him.

Leanne warns Claire that something horrible will happen to her if she doesn't leave.  Claire decides to evacuate the inn, and discovers the old man dead in a bloody bathtub, a victim of suicide.  Luke returns and tries to tell Claire something, but she's panicked and wants him to help her get out.  When she heads to the basement, thinking Leanne has somehow ended up there, the movie hurtles towards its sad and strange conclusion.

The only issue, if I can call it that, that I had with the movie was its ending.  It wasn't quite there for me.  I tried thinking about it from outside the box, but still couldn't get a strong feeling for it.  Endings are hard, I know that.  But when you consider the rest of the film is so solid and so incredibly well-filmed, it's really a small nitpick overall.  As I mentioned, the tension is palpable.  You really are along for the ride as Claire explores the hotel and encounters both real and red herring scares.  The acting from Paxton and Healy was simply fantastic.  They have obvious chemistry and were just so natural.  They seemed like real people having a really crazy night at an allegedly haunted inn.  The dialogue was natural, never forced.  The scares were beautifully done, subtle yet never weak.

Ti West really has the potential to become one of this generation's greatest horror filmmakers.  He understands tension and character, and modern - and mainstream - horror needs more of that to effectively balance out the slick shocks and occasional gore.  I expect his next film will be even better.

Memorable scenes:

*  Claire's dream featuring a spooky visitor.  Brrrrr....

*  Any time the audio equipment was used.  Excellent use of sound.

*  The banter between Luke and Claire.

*  The ghost at the top of the stairs, then in the basement.  Subtle but oh, so creepy.

*  Luke and Claire trying to contact the ghost in the basement.  Ratchet that tension up to ten!

And now, as a small bonus, here are some pictures of the actual Yankee Pedlar Inn I took on a recent road trip up to Torrington, Connecticut.

Until next time, dear readers, enjoy the trailer:

Happy New Year, 2012! Is This The Year For The Zombie Apocalypse?

Well, another year has gone by and we head into the infamous year of 2012, when the world is supposed to end and we're supposed to follow John Cusack to salvation.  How will it end?  I'm not sure, but I'm checking the rations to make sure I have enough cookies.

First off, allow me to thank you, the readers, once again for taking the time to read my little thoughts on various horror movies.  As of today, the blog is just a few people away from 100,000 views.  So thanks for stopping by and hopefully, you're taking some entertainment and information away from the ol' helicopter.

Second, another big thanks go out to others in the horror and pop culture blogging community, who continue to be friendly and supportive.

Sadly, I didn't get to Chiller this year. I planned on going in October, but thanks to the freak snowstorm here in the northeast, the kibosh was put on that.  I'm shooting for a trip in April, though.

I'm hoping 2012 will see more entertainment, and I'd like to feature more interviews, more reviews of independent films/screeners, and more diverse subjects like books and music.  Hey, it's all up to me!

I also started a new blog for another of my big interests:  comic books.  Go check out Born In The Silver Age - not much there yet, but it'll grow.

In keeping with tradition, I'm going to share my ten favorite movies that I reviewed in 2011 - not including the ones I already own.  Trust me, there were more than ten that I really liked, but I'll narrow it down in no particular order.  Here goes:

The Last Exorcism - This listing is actually more about the context of the film and how it may have gone outside the box to tell its story.  Yeah, it's "found footage" but the theory I subscribe to is that even the description of the genre "found footage" is being played with here.

Phantasm - An older film and a cult classic, it always brings back great childhood memories of the weird horror films we could only catch on the early days of cable or at the video store.  Yes, Phantasm on VHS is a fond memory of mine.

Stake Land - Word of mouth propelled my interest in this little movie that offered a very unique take on vampires and what they could mean to the world if left unchecked.  Great performances and a heartbreaking invasion scene were two traits that made me really enjoy this movie.

Dance Of The Dead (2008) - Definitely a fun horror-comedy with a great deal of likable characters and funny moments.  It had a b-movie appeal with modern sensibilities, combining the two with flair.  Neat explanation as to why certain zombies move faster than others as well.

I Saw The Devil - What an emotional punch to the stomach.  This film has it all:  deft direction, great pacing, and amazing acting.  It's brutal yet human - it's definitely not a ray of sunshine, but it's a quality, extremely well-made film.

Tucker and Dale vs. Evil - This was probably my favorite movie to review in 2011.  An absolutely wonderful film, full of sweet characters, hilarious predicaments, and a subplot that boils to the surface in the third act make this a purely magical movie experience.

Trollhunter - Wild Norwegian fare that elevated the "found footage" genre even more, with some great performances and special effects that are absolutely seamless.  A film about encountering Nordic trolls seems like a silly premise, but they pull it off with style.

House On Haunted Hill (1959) - One of the true classics starring one of my absolute favorites in Vincent Price (and eternal doom-sayer Elisha Cook) , this one of the films that adds to the foundation of horror.  Sweet suspense and a cheeky performance by Price.

Attack The Block - I'd classify this as sci-fi/horror and it's well on its way to being a cult classic.  A gang of tough London kids battle a herd of very, very toothy aliens.  A real lesson on character development and pacing, my love for this film grew as it went on to its satisfying conclusion.

Skew - Definitely a lot of "found footage" films on my blog, and this list, but this one was near the top.  A seemingly simple premise holds a lot more details in this road movie that has as one of its stars a possibly haunted/cursed video camera.

And one TV miniseries:


Dead Set (TV) - While technically not a film, this British TV miniseries was a kinetic, gory, and emotional rollercoaster set against the backdrop of a popular reality show.  I believe it featured some of the best "being overrun by hordes of zombies" scenes I've seen.

And one special mention of a short film I reviewed:

Crestfallen - From producer Russ Penning and director Jeremiah Kipp came this wordless, quiet, and emotional short film about the downfall of a young woman who feels she has lost it all.  Actress Deneen Melody turns in a fantastic performance, making her someone to watch as her career no doubt grows.

Honorable mentions:  Let Me In, Piranha (2010), Poultrygeist, The Horde, Cronos, The Horseman

So, a Happy New Year to all my helicopter passengers - let it be safe, happy, and full of good surprises with none of the bitey zombies.  Thanks for reading, and I'll see you at all the post-apocalyptic shelters!

Zombieland (2009) Lively, Drooling, Angry-Eyed Fun

Why have I taken this long to review one of my favorite horror-comedies?  Why ask why?

2009's stellar Zombieland, written by Rhett Reese and Paul Wernick, and directed by Ruben Fleischer, is a slam-bang, energetic romp (always wanted to use that word in a review) through a world devastated by zombies of the "caught a nasty virus and really got messed up with a taste for human flesh" variety.  There's been a long-standing debate as to whether or not this is truly a horror film.  Many maintain it's a comedy instead of horror.  I tend to believe that it is indeed a comedy with horror elements; therefore, I'm comfortable with the genre label of "horror-comedy."

The world has ended and all neurotic Columbus (Jesse Eisenberg) wants to do is head home to his family.  A nervous but careful young man, Columbus (not his real name, but where he's from) has survived the zombie apocalypse through his meticulous rules, which include shooting a zombie twice to ensure it's dead (Rule #2), not being a hero (Rule #17), and the all-important keeping up of the cardio (Rule #1). 

Yeah, Rule #3 is pretty important, I'd say.

On his way out of town, he meets tough-guy Tallahassee (Woody Harrelson), an expert in zombie-killing who is searching for the last stash of Twinkies, as they represent a simpler, happier time in his life.  The two complete opposites soon run afoul of two grifting sisters, Wichita (Emma Stone) and Little Rock (Abigail Breslin), who steal their guns and their ride.  Soon the tables are turned, and despite their differences, the four team up at least to get where they're going:  Pacific Playland, which is supposed to be devoid of zombies.

They stop for an overnight in Los Angeles and stay at Bill Murray's mansion, which leads to some hilarity, in-jokes, and one big misunderstanding.  Tallahassee lets his guard down and we discover just why he hates zombies so much, a truly heartbreaking reveal.  Columbus and Wichita grow a little closer, leading the nervous young man to think he's finally found the family he always wanted with these strangers.  But Wichita and Little Rock bug out, trying to convince themselves they don't need anyone else, and head for Pacific Playland.  Columbus refuses to let them go and gets Tallahassee to join him in tracking the girls down.

At the amusement park, the sisters' night of fun is rudely interrupted by hordes of zombies attracted by the bright lights and now, fresh meat.  They find refuge on the drop tower ride but their time is running short.  Columbus and Tallahassee ride to the rescue, with Columbus overcoming his paralyzing fear of clowns - yes, that means clown zombie - and Tallahassee making a last stand inside a concession booth.  Somehow, through sheer bravery and quite a bit of luck, the four manage to survive.  And yes, Columbus finds the family he so longed for.

Zombieland is just pure fun from beginning to end.  It pops on the screen with four likable characters fueled by excellent performances by Eisenberg, Harrelson, Stone, and Breslin.  So many memorable lines, so many memorable scenes, as well as the funniest cameo put on film in ages.  It's not a long movie, clocking in at around 88 minutes, but it moves along very quickly, never pausing too long on overly serious scenes yet still bringing about depth in each character.  If you're squeamish, the opening scene will be enough to let you know you may be averting your eyes a few times during the movie, but really, it's entirely worth watching.  If the planned sequel is anywhere near as much fun, I'll be happy.

So Zombieland is definitely a comedy with roots in horror, and it not only walks the fine line between the two genres, it puts on a lampshade and boogies down on each side of the line.  So much fun, and definitely belongs in my high pantheon of horror-comedies along with Shaun of the Dead, Tucker and Dale vs. Evil, and Evil Dead II:  Dead by Dawn.

Now "nut up or shut up" and see it!

Grave Encounters (2011) This Would Make A Great Haunted House Attraction

You know those haunted house attractions that pop up everywhere during the Halloween season?  Some are hokey, many are extremely creative.  Through my entire viewing of The Vicious Brothers' Grave Encounters, I kept thinking how sweet it would be if they could parlay the film into an actual haunted house one could brave on a crisp autumn evening.  I also kept thinking about how well the filmmakers skewered "reality ghost hunter" series as fame- and ratings-seekers.  Only in Grave Encounters, the question is asked, "what if one of those shows actually finds something?"

Continuing my unofficial "found footage month" here at the Helicopter, Grave Encounters slides right in as an entry in that genre, as nearly the entire film is told through footage that was "found" at an abandoned insane asylum and, as a concerned television executive tells us in the few moments that are not in first-person, "altered in any way."  Although this subgenre is starting to saturate the market just a tad, I'm still interested in it.  Although I had slightly lower expectations for this film, I was pleasantly surprised at how fun it was.

Written and directed by the awesomely-named Vicious Brothers (Colin Minihan and Stuart Ortiz), the film sets us up with premise that a film crew producing the latest episode of a ghost-hunting reality show called - as you may guess - "Grave Encounters."  An executive lets us know in documentary format that the crew has disappeared and what we're about to watch is an edited, yet undoctored account of what happened to them.  We then meet the leader of the team, Lance (Sean Rogerson) who bears an uncanny...hell, an obvious resemblance to that spiked-hair muscle guy on "Ghost Adventures."  His mannerisms in front of the camera had me laughing since I'm so entertained by the antics of the real show, it seemed like a parody-homage.  To investigate the supposedly haunted asylum, he brings his team of camera man T.C. (Merwin Mondesir), occult expert Sasha (Ashleigh Gryzko), tech guy Matt (Juan Riedinger), and psychic Houston (Mackenzie Gray).  Early on, the on-camera facades drop and we see that Lance and his team hardly believe in the paranormal - the whole thing is about ratings and of course, money.  Lance is obsessed with the show being successful, and Houston is hardly a real psychic, just an actor who complains that the overnight taping session might cut into his auditions.  They even pose like a hip paranormal investigation team.  They're ready-made for fame.

But strange things begin to happen over the night, at first nothing overly alarming.  But when Matt goes upstairs to investigate a window that moved during the night, it kicks off something that ranges from mysterious (his disappearance) to the terrifyingly surreal (what the team finds when they finally open the front doors).  Although they're not locked in anymore, they can't leave.  The asylum itself becomes an antagonist.  Maps and directions mean nothing.  Doesn't matter that their clocks say it's daytime...outside the windows, it's still dark.  Horrifying apparitions appear and the party is separated in the pitch black.  One by one, the crew is picked off in chilling ways.  I won't spoil how they go down, but I will say I found T.C.'s fate especially creepy.  Eventually, it's down to just Lance, exhausted and alone.  At the end of his rope, it's as if the asylum allows him to glimpse answers to long-standing questions about the nefarious doctor who likely created the restless spirits before handing him over to his doom.

Unlike Skew, the found footage film I reviewed recently, Grave Encounters isn't deeply layered.  There's no symbolism or puzzles you need to solve, not even a breathtaking final shot to nestle itself in your brain.  Grave Encounters is straightforward and wild, a walk through a haunted house not unlike some of the better Halloween attractions out there.  It's not fancy, but it manages to hold the interest and entertain with no small amount of flair and nods to a slew of urban legends.  Rogerson is excellent as the central character, and his Lance is intense, brash, and slightly unlikeable.  He demands his crew follow him, even when things get insane.  One standout for me was Gray as Houston, the over-dramatic, cowardly psychic.  He's so over-the-top when he's "on camera" for the show, displaying his "powers," but a fame-seeking diva when he's not.  I found him to be both hysterical and interesting by playing both sides of that coin.

Overall, the film is a lot of fun, not nearly as bad as I thought it might be...don't ask me why I thought it would be bad.  I guess I thought I was due for a dud, but I was happy to find I really enjoyed Grave Encounters. 

So give it a try, and you'll see what I mean:  making this a haunted house tourist attraction would be money in the bank. Charge admission at the door, gift shop on the way out. Money, I tell you.

Skew (2011) The More I Think About This Movie...

...the more I like it.

Skew had me thinking.  Not just during the movie, which is always a positive, but after.  Long after.  It made me think about everything I saw during the course of the film and every line of dialogue.  It especially made me think about a final scene enough that I went back and watched the final few minutes over again.  The final frame froze me in my tracks.  Figuratively, of course. I don't usually pace around the room when I watch movies.

The last found footage/cinema vertite/first person film to make me formulate ideas and theories long after I shut it down was The Last Exorcism, which I enjoyed more after I watched it as well.  My theories may not be right, but it's fun to think them up.  The last shot in Skew is a game-changer.  It made me go back over everything I had just seen and re-think all of it.  It's chilling and exciting at the same time.  Like a goofball fawning over a double rainbow, I felt like laugh-shouting, "What does it MEAN?"

Basically, Skew is a story told from one point of view, first-person-style.  It's deftly written and directed by Sevé Schelenz about three friends on a road trip.  Some movies could tell a story with just that, but Schelenz goes much further.  Simon (Robert Scattergood) wants to document the entire trip to a friend's wedding with his spankin' new camcorder.  Buddies Rich (Richard Olak) and Eva (Amber Lewis) pick him up but there's already tension because Simon has just had a fight with his girlfriend Laura (Taneal Cutting).  Eva goes inside to convince Laura to go anyway, but is given the cold shoulder.  The three head out on the road and after some friendly shenanigans and typical road trip fun, strange things begin to happen.  Hey, you knew they would.  It starts when they hit a coyote on the road, then check in to a local motel.  Simon films the desk clerk and finds his face distorted and twisted.  Later that night, the clerk is found dead and police are everywhere.  But it doesn't stop there.

An entire bus full of tourists winds up dead after being filmed through Simon's lens, and the weirdness is just getting started.  Terrifying things happen.  Tensions flare.  Nerves are stretched thin.  Visions intrude (but only for Simon).  Secrets are confessed, one of which brings friends closer, another which tears them apart.  It all comes to a head, and when the final few minutes finally air, we get some answers and one huge reveal that might give you more questions to ponder.

And my friends, sometimes that ain't all bad.

Sometimes I like being left with a few questions partially answered...or not answered at all.  It's good exercise for the brainpan to be given some slack to dance around the information it's been given, see it from different angles.  Too often, audiences are spoon-fed the answers and soon grow to demand it.  Look at some (some, I say) of the frustration with the TV show, Lost.  Answers were deliberately held back, but there were those who got angry because every little detail wasn't revealed.  But I digress.

Skew wasn't without a couple faults, the way I saw it.  I understand and very much appreciate the importance of a slow build, but there were a few spots where dialogue and non-action felt a touch snail-like.  But I'm definitely willing to look past those slow spots because the acting was very good, very genuine.  It's hard to pick out a single star, and I have to hand it to Scattergood for basically what amounts to voice acting, as it is through his perspective that we see the film.  Olak is a study in a breakdown as he goes from jaunty slacker-ish guy to hard-drinking angry friend on the verge of blowing his top.  Lewis is the voice of reason, the almost angelic one that everyone loves.  She tries so hard to keep the three together with so much going on behind her eyes.  The script is natural and flowing, and the direction is tight, especially during the scenes of mounting tension or utter creepiness.  I'm not alone in looking forward to Schelenz' next body of work.

Give yourself some time and have a gander at Skew.  It's a fine entry in the current "found footage craze," even though it's technically a forerunner, since it was actually filmed in 2005.  It doesn't have the frantic craziness of, say, a [REC], but for genuine creeps and chills, it makes a damn strong case for itself.

Now here, take a look at the trailer if you like. *warning: some language and possible spoiler-ish stuff*

Atrocious (2010) The Windup, And...Well, The Pitch

I really wanted to love Atrocious.

Honestly.  Instead, I just kind of liked it.  It built itself a nice little foundation.  You know, like in baseball, a really good windup.  Then the pitch just sailed in at a nice velocity, but was a little flat.

I miss baseball already.

Atrocious, the Spanish film written and directed by Fernando Berreda Luna, is a found-footage style film (an increasingly popular subgenre) set in the Spanish countryside concerning a family that has been found horribly murdered.  When the viewer begins the film, it's as if they're part of the investigative team reviewing the evidence.  A jarring sudden rewind flashes some telltale near-subliminal images until it starts at the beginning. 

The Quintanilla family heads to their old country home for the first time in a very long time, and siblings Christian and July intend to film the entire thing for their online paranormal investigation webcast.  They're specifically excited about a local urban legend about the ghost of a girl named Melinda.  Christian insists on filming everything while July joins him in exploring the creepy labyrinth outside the house.  Soon after opening a locked basement, where they find old family artifacts, including an old TV and tons of old VHS tapes (including some Dario Argento selections), things get spooky.  Strange sounds at night seem only a little odd, but then the beloved family dog disappears.  Events take a turn for the frightening when they find the poor thing dead at the bottom of a well in the labyrinth.  The ol' family vacation ain't what it used to be.  The climactic scene finds the youngest brother missing and a frantic mother desperate to find him...in the dark labyrinth.  The father and the family friend are conspicuously absent, but the resulting stumble through the dark with Christian's camera is jarring and ultimately reveals an ending you might not see coming.

I wish the ending hadn't fallen short of what I was expecting (or rather, hoping for), but that's not to say it wasn't decent.  Maybe you, loyal readers, will get more out of it.  The tension leading up through the entire movie was very well played out, to where we didn't really know what would be in front of the camera at any given time.  But I think the movie got caught up in the atmosphere and somewhat, I don't know, lost itself.  I wasn't blown away by the ending, instead saying "oh" out loud.

But I will say this:  the ratcheted-up tension built at a really good pace.  You really do end up wringing your hands over what you think might happen, and that's good by me.  I just wish I hadn't felt so "meh" as it came to a close.  Anyway, judge for yourself. 

It appears that found footage (or first-person, or cinema verite, whichever term you please) is a subgenre here to stay.  I'm mostly good with it, although for every Trollhunter or [REC], there might be a Monster.  Thankfully, Atrocious, for all its faults, isn't lumped in with the latter.  Keep an eye out, fellow zombie apocalypse survivors, as I'll have more found footage film review on the way.

For now, have a gander at the trailer for Atrocious: