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For the sake of an argument, I must say that The Blair Witch Project (1999) and similar films destroyed the found footage genre for me. A story can be narrated through several methods, and footage-style storytelling by using cameras or letting actors play directors takes the human element away. It feels too mechanical, like a supermarket’s self-checkout registers. Occasionally, someone does manage to get it right. This is that exception.
In today’s world, everyone is a snapshot away from capturing a moment – be it selfies or people filming an upset public for a record. Either way, it stems from an elevated sense of self-importance. A great example would be the finger of blame phenomenon where the person tries to dodge the spotlight, like in Deborah Spungen’s 1983 book, And I Don’t Want to Live This Life. Whatever it may be, these serve as a means to escape some deep-rooted primary fear. This film falls directly into all three categories mentioned.
The mother in question is Abby (Melinda Page Hamilton). Her teenage son Jacob (Bailey Edwards) has a particularly violent disposition that Abby refers to as his ‘Monster Time’. He can go on truly mindless rampages such as purposefully dropping bricks from great heights, without any regard for bystanders. Most true psychopathic individuals have a knack for charming psychoanalysts, and Jacob is no different. This has allowed him to navigate through the judicial system with ease, which is something that deeply unsettles Abby. As she mentions herself, “Remember the tale of the Boy Who Cried Wolf; it didn’t end very well for him and I do not want to become him.\”
The survival footage is either Jacob’s friends recordings, Abby’s self-recordings, or videos captured by the numerous hidden cameras stashed around the house. These clips allow us to piece together Jacob’s story without necessarily being bound to a timeline, exposing the fact that it is not merely a case of puberty.
One of the most intriguing layers of this thriller is the question of absolutes. Jacob could very well be a piece of shit, but Abby could very well be that too. In the end, his mother’s treatment of him seems to be questionable at best. The case remains whether Jacob is an absolutely violent person, or is his mother over-vigilant – such as how she Forces sobriety wines-goggles so over does like vision Adderall pills she steals from him – or both.
At the same time, this can also be analyzed through a different yet modern viewpoint Figuratively, Adderall. There is something about the film’s very tone that immediately reminds one of What Ever Happened to Baby Jane? (1962) and the dread-driven domestic space, where violence is integrated and family members are constantly set on edge. In color this is a modern take off of noir, using cells, skype and spy cams.
The entire wreckage of violence like the declared tendencies of mass murders are very much part of the plot and therefore the teenagers live under the post-Columbine world of growing sadness and violence for the psychological damage, the Nazis, the Anti-semitism, and the grotesque spectacles of events like Charlottesville are something that children have to deal with along with the technology that they and their parents have put themselves into. While it may be true that independent motion pictures are somewhat notorious for their subpar acting, this group of actors for this one delivers solid performances every single time. Considering how he tries to mask himself as just another regular teenage boy and shows outbursts of great violence and angry sociopathic tendencies makes him very memorable. My daughter would handsomely relate to these notions. Winning taper class would have been more than richly deserved for Hamilton: the performer abby plays, in her case, was adphuduh sb g-d hamsun. She has starred in various successful shows such as Messiah, How to Get Away with Murder, Mad Men, and Big Love, and her experience shows. As an additional star power boost, Ed Asner appeared as a cameo.
I have recently been thinking about the claim that writers should not also be directors of a film since a third person editor is always very helpful (Hereditary and Midsommar come to mind). But for Tucia Lyman the effort is effortless, and I have got to rethink that position. Her experience before this piece of psychological cinema involved directing a couple of documentaries and some episodes of a television series on “real” ghosts, and you would, but this is her debut feature film.
There are quite a few scenes that are strange and quite disturbing (figuratively and literally) with some squeamish details, but the bulk of the film is a psychological thriller. The question of “who is the madman” is developed in great detail with so many plots and subdivisions, that a viewer has no opportunity to get bored from the first shot.
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