The Outwaters Review: Fear the Dark!
“The Outwaters” is available to stream now, exclusively on ScreamboxTV!
The found footage subgenre is one that requires specific taste and often comes under much scrutiny due to most of them being small independent films with minimal budgets, unknown actors, and the often complained “shaky cam” aesthetic. While these are valid complaints, especially when sifting through a massive library of repetitive tropes and half-assed knockoffs, there are some that manage to sift through the cracks and redefine the subgenre with positive results; whether good or bad. Films like the popular “Paranormal Activity”, produced on a shoe-string budget, only to spawn an entire franchise. Or the infamously reviled “Cannibal Holocaust”, a film shrouded in so much controversy, director Ruggero Deodato was actually placed on trial for the murder of the films actors, even though they were among the living. One also cannot forget the cult classic ’99 film, “The Blair Witch Project”; though it may not have started the found footage subgenre, it most certainly popularized it. “The Outwaters”, written and directed by Robbie Banfitch, is unlike any of the films I previously mentioned, but rather, a jarring new experience unlike any you’ve witnessed. An experimental vision that is exquisitely haunting, graphically perverse, and will leave you terrified of what dwells in the dark.
A Cosmic Journey through Hell
“The Outwaters” unsettling tale of terror follows cameraman Robbie Zogorac (also played by Banfitch) as he takes a trip to the Mojave Desert in hopes to film a music video with his best friend and muse, Michelle (Michelle May). Joining these two companions are Robbie’s distant brother Scott (Scott Schamell) and lastly, their close friend and make-up artist Ange (Angela Basolis). Their majestic trip is quite uneventful at first, as they serenade themselves with music, explore small caverns, and take a quick dip in a quaint little lake filled with glistening teal water. Everything seems to be going perfectly as laughs are being shared whilst they reminisce of memories past and discuss previous hallucinogenic experiences. It is not until these four souls arrive at their camping site when events begin to go awry, bringing their peaceful trip to a savage halt. Ominous booms and cracks of lightning-less thunder begin echoing the night sky, pounding louder with each passing minute. The desert animals howling in fear as vibrations begin to ripple through the ground and surrounding boulders. What was meant to be a trip of bonding and music, quickly shifts into a hellish reality of visceral carnage and cosmic horror.
Banfitch wastes no time setting the tone for “The Outwaters” by opening the film with a bone chilling recording from a 911 call. Though the title sequence only lasts roughly 30 seconds, the blood-curdling screams mixed with violent gargling sounds and otherworldly noises shrieking through my soundbar sent shivers down my spine. This is only a mere taste of what’s to come later, as the all too familiar setup we have come to expect with most found footage horror films is nothing more than misguided direction. Banfitch takes us by the hand guiding us ever-so gently through the Mojave Desert with a false sense of serenity. He is able to achieve this by including sultry melodies, scenic views, and vivacious multi-colored sunsets bleeding through our screens. Once the light fades and the dark floods over, Banfitch does not hesitate to spiral us down a polarizing descent into gruesome chaos, affectively leaving us to navigate his nightmarish concoction alone and disoriented. Relying only on a single camera and the smallest of flashlights to navigate through the black of night, the small circle of light providing the briefest glimpses to the blood drenched carnage that has ensued, saturating the desert floor. It’s within these moments where the story evolves into something more, relying heavily on its auditory horror and blending of visual stimulations.
Redefining a Subgenre
While most found footage horror films rely heavily on cliche jump scares, “The Outwaters” instead opts to push its narrative forward with its often times disturbing yet melodic sound design. Michelle’s voice is angelic, soothing the soul as she sings to the light strums from Scott’s guitar. As the film progresses, the calming music evolves into neural despair as Michelle’s voice grows more distorted throughout, building to the inevitable sensory assault that lies in wait. Screeches from slithering creatures mixed with distant roars from anonymous beasts resound in the distance, however, we rarely see these monsters. Rather, Banfitch viciously blindfolds his audience and aggressively shoves them in the dark, forcing us to imagine the extreme brutality being perpetrated off-screen. While there are slight elusions to a more sinister force, it’s the horrific screams from Robbie’s friends the left me feeling uneasy.
The performances in “The Outwaters” are nothing short of impressive, including Banfitch as “Robbie”. This in part due to the on-screen chemistry between the actors but, mostly because of how well written each character is. While we aren’t provided much backstory for these victims, they are graced with enough personality for us to develop emotional attachments for each individual. Michelle is a free-spirited new age hippie, seducing us with her alluring voice; Ange captivates with her outgoing personality and comedic timing, while Scott is quiet and reserved. When the laughter and smiles of these characters suddenly shifts to shrieks of agonizing pain, one can’t help but squirm in unpleasantness. Following the night of slaughter, we are left witnessing Robbie’s further descent into hell disoriented, afraid, naked, and alone. He wanders the desert aimlessly crying for help, praying in-between each plead. The more he interacts with a certain flashing ripple of light, the further he loses grip over reality and himself.
What’s unfortunate during “The Outwaters” unwavering brutality is how little is actually revealed visually during the more chaotic moments, especially with a run time nearing two hours. Much of the latter half of “The Outwaters” consist of Robbie filming numerous shots of his feet shuffling in the desert as he reacts to the sounds around him, headache inducing red strobe lighting effects, and extreme close-ups. Those hoping to see any grand reveal of the films ominous monsters or the savagery that befalls on Robbies friends will be met with disappointment. Rather than reward us with visible validation, apart from the films climax, Robbie frustratingly pulls the camera away or turns his already minimal light off. This is disappointing due to the fact Banfitch clearly shows early in “The Outwaters” first half he’s not only a skilled cinematographer but meticulously plans the creativity behind his angles. Whether that be spinning our perspective upside down for juxtaposition, or eerie wide lensed outlines of hatchet wielding shadow figures painted in purple hues. It would have been nice to see more of these creative camera angles at play as opposed to the anonymity we’re forced to endure.
Final Verdict
“The Outwaters” is a bold new take on a subgenre that has since grown somewhat stale throughout the years. Writer/Director/Actor Robbie Banfitch dares to redefine the found footage tropes by catapulting the audience into his amalgamation of time loops, religious undertones, and exponential cosmic dread. What makes “The Outwaters” even more impressive is the singular effort that went into creating this film as Banfitch also edited and provided the visual effects. While the first act’s slow burn aesthetic dwells a bit long and the constant pitch-black setting can be exhausting, there wasn’t a time in which I didn’t find myself completely absorbed in Robbie’s depraved journey through hell, constantly guessing what might happen next. Much like the recent “Skinamarink”, “The Outwaters” is an experimental visual experience that will be divisive yet talked about for years to come. You will either find yourself engrossed in the surreal psychedelic nightmare, or utterly confused by the vile images that unfold before your eyes. We all die in the dark.
(4 / 5)
Episode two of Dexter, Original Sin, was just as wonderful as the first. As a long-time Dexter fan, I find it added so much to the background of the story. And if you’re a new fan, I promise you won’t feel left behind.
The story
At the start of our episode, Dexter is learning the ropes of his new internship at Miami Metro. He’s getting a little hazing but is learning how to fit in.
Especially when he starts digging into the old files and finding new playmates for his Dark Passenger.
Meanwhile, Deb is struggling. She feels underappreciated and ignored at home. So, she decides to steal some jewelry from around the house for some quick spending money. Having little in the house in the way of jewelry, she happens upon a pair of earrings in Dexter’s room.
Nurse Mary’s earrings, to be specific.
And finally, in what will probably be the storyline for the series, a little boy is kidnapped. While he looks like a victim from the first episode of Dexter, or at least dressed in the same school uniforms, we soon find out that he’s the son of a judge. And his kidnapping might have something to do with the death of Dexter’s biological mother.
What worked
I’ve often complained about slow episodes in a TV season or mini-series. The episodes that just don’t have anything going for them. The episodes that are needed to set up the story, but otherwise are kind of dull.
This is an example of that sort of episode done well. It is true that there were no murders in this episode. There was only one dead body, and it was already dead when we got there.
But that didn’t mean the episode was uninteresting. There was character development. There was comedy. And most importantly, it had a storyline that had a satisfying conclusion. Specifically, Deb stealing Dexter’s trophy earrings and trying to sell them.
This little storyline worked on so many levels. One, it heightens tension because we know those earrings can lead the police to Dexter for the murder of Nurse Mary. Two, it shows how frustrated Deb is with her life and how far she will go to have a little fun. Three, it shows how far she won’t go when she refuses to sell her mother’s pearls. And four, it gives us a satisfying beginning, middle, and end of a story while we’re doing the necessary work of laying a foundation for the rest of the series. This was a masterclass in subplots.
I also want to point out that, so far, this series works by itself as much as it works as a prequel. I would watch Dexter Original Sin if I’d never heard the name Dexter Morgan before. And while it certainly benefits from its predecessors, it isn’t only relying on that.
What didn’t work
All that being said, I’m afraid there is still one glaring issue with this series. I hate Gellar’s character.
Yes, I am biased. But hear me out.
Tanya is supposed to be Dexter’s mentor. She got him the job as a paid intern. It would stand to reason that she did that because she wanted to take him under her wing. And yes, I am aware that a certain kind of teacher likes to knock their students down a peg or two. But she seems more interested in proving what a Strong Female she is to this college student than actually teaching him.
And frankly, this is some of the most sexist stuff I’ve ever seen on Dexter. This show has a long history of being pretty good about gender relations. It passes the Bechdel test. All of the female characters have flaws, strengths, and personalities. It’s almost like they’re, gasp, real people. None of them have been the girl hero with no personality other than being the Strong Female until Tanya was introduced. And given how similar she is to Buffy, and how unlike the rest of the cast this character is, I sense some meddling from Gellar herself.
Do better.
I am so pumped for the rest of this mini series. It is clear that everyone working on this series, except Gellar, are huge fans of the original show. Everyone is going a great job, the story is great, and I cannot wait to see what happens next.
(4 / 5)
Movies n TV
Heretic: ‘It’s a simple choice that should not be made simply: Belief or Disbelief?’
‘It’s a simple choice that should not be made simply: Belief or Disbelief?’
A24‘s chilling religious horror film, Heretic, arrived in theatres this November, forcing viewers to confront the unsettling line between faith and doubt. Directed by Scott Beck and Bryan Woods, this edge-of-your-seat thriller will leave audiences deeply disturbed as Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) pass over the threshold of Mr. Reed’s (Hugh Grant) home where they undergo a terrifying experience that shatters their beliefs.
The Plot.
Sister Barnes and Sister Paxton are Mormon missionaries for The Church of Jesus Christ of Latter-day Saints. As the opening scenes roll they are visiting houses in an unnamed, rural Colorado town. These houses are from a list of people who have shown interest in joining the church. After being rejected and ignored several times, they arrive at the door on Mr. Reed, a pleasant gentleman who invites them in the discuss the church, promising his wife is home in the kitchen to put the Sister’s minds at ease.
Welcoming the women to sit in his living room, Mr. Reed initiates what amounts to be an awkward conversation, questioning the faith of the missionaries. Sensing that something is amiss, with Mr. Reed’s wife still not coming to meet them and a storm brewing outside, the women decide it is time to leave. Sneaking to the front door when Mr. Reed leaves the room they find the front door locked, and the only way out is to go deeper into the strange house.
Highlights.
I have never really understood the appeal of Hugh Grant. I found him lackluster in Love Actually and just plain annoying in Bridget Jones’s Diary. After watching Heretic though I think the problem is that his career focus has been on the wrong genre. Hugh Grant is terrifying, but not in the conventional sense, in the creepy religious uncle that you only see on Boxing Day sense. It might be in the jerky way Mr. Reed walks, or the near-whispered dialogue throughout the movie. Also, whoever put Mr. Reed in those glasses is a genius, they give chilling Jeffrey Dahmer vibes.
I must also note the intense monologues that Hugh Grant delivers in Heretic. It is hard to take your eyes off him. The ideas and theories that are presented are not unknown and rather convincing. I was surprised to find myself nodding in agreement with an obviously deranged and hostile character.
Drawbacks.
It is hard to explain the main drawback of this movie without spoiling the ending, but let me try. The explanation and big reveal at the end of Heretic was a bit… on the nose. I just couldn’t hitch myself to that wagon. I understand what the writer was trying to say. That there are people who have such strong faith that they are willing to give up their lives to prove the belief true. It is the way this is presented in the plot however… I didn’t like it and wonder if there might have been another way to present this idea.
The Final Take.
Ahh, how I loved this movie. Never mind National Lampoon’s Christmas Vacation, Krampus or Die Hard, Heretic is my new favorite Christmas film. There is nothing more to be said.
(5 / 5)
Movies n TV
Returning to the Soothing World of Evil with “The Demon of Death”
“The Demon of Death” is the season 3 premiere of the supernatural drama Evil, created by Michelle King and Robert King.
“The Demon of Death” is the season 3 premiere of the supernatural drama Evil, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate the weight of a soul. Father Frank Ignatius (Wallace Shawn) agrees to participate in this test despite his growing disillusionment. David (Mike Colter) and Kristen (Katja Herbers) deal with the ramifications of their confessions. Kristen’s girls go on the warpath with Leland (Michael Emerson). Andy (Patrick Brammall) signs his death warrant.
What I Like about “The Demon of Death”
As season 2 ended with a cliffhanger, “The Demon of Death” picks back up with an interesting addition. The episode provides a more obvious stopping point that Season 2 should have taken advantage of. It dumbfounds me because this addition makes for a more interesting and darker cliffhanger. The added context would have made the cliffhanger more palatable. However, it’s a nice twist for the episode.
Dr. Boggs (Kurt Fuller) and Sister Andrea (Andrea Martin) make an interesting pair that adds complexity to both. We even explore some of Sister Andrea’s character flaws, best displayed by her interaction with Kristen in the next scene. Few wise sage characters that display flaws, making this addition appreciated.
Father Ignatius’ introduction adds layers of interest for a character who will play a recurring role, tying into Monsignor Korecki directly. The yet-to-be-explored relationship between Father Ignatius and Monsignor Korecki (Boris McGiver) evokes an interest.
While “The Demon of Death” isn’t a haunting episode, but explores the mysteries and terror of death through science to provide an interesting environment for an episode. It introduces a new character that adds to the cast.
Tired Tropes and Triggers
There’s not much to report here that particularly crosses the line and what teeters on the line holds a dark comedic tone.
Perhaps Sister Andrea’s flaw might rub some the wrong way, as it deals with her overwhelming faith. However, it’s a minor point at the moment. Again, I lean on liking some complexity for the wise sage archetype.
What I Dislike about “The Demon of Death”
“The Demon of Death” still plays it safe with its supernatural elements, but that does seem to be Evil’s standard. At this point of the series, it seems a strange restraint. However, the new normal remains functionally paranormal.
While the premiere starts with an interesting procedural plot, it doesn’t direct the season like prior premieres. This episode doesn’t deliver a massive refocus as season 2’s premiere, but that’s because its conclusion doesn’t deliver as focused of a direction. Regardless, “The Demon of Death” is still an episode that slips away despite its premiere status.
Ben (Aasif Mandvi) seems needlessly hostile as they investigate a soul’s potential weight. The study delivers a thorough scientific process, which makes his resistance linger on the “angry atheist” archetype.
The demon shown on screen certainly isn’t the demon of death the title suggests. While the plot revolves around the mystery of death, there is a demon with a more carnal domain. As future episodes dive into their respective demons, it does seem to be an inaccurate title. However, the demon of the episode will get further focus in a different episode.
Final Thoughts
“The Demon of Death” doesn’t stand out as a premiere but provides an interesting procedural episode. As Father Ignatius will become another key character in the series, giving him an entire episode to introduce him is a nice strategy. While it’s not a haunting episode, it still provides a level of camp with interesting characters to pull it off.
(3 / 5)
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