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)
Oh, the 90s, the renaissance of the slasher genre after it crashed and burned in the mid-80s. Halloween H20 is the seventh installment in the Halloween franchise. It hits a reset button on the canon, which utilizes the strong points of the decade. Without any further ado, let’s dive in!
Plot
We start with seemingly random characters as they die at the hands of Michael Myers, who is back for vengeance. He wants to find Laurie and is not willing to let anyone else stand in his way. Here is where the franchise diverges into a different canon that ignores all the movies after the second one.
After a wonderful tribute to the late Donald Pleasance we see Laurie. She is now a headmistress at a boarding school in California, with a new name and a son. Laurie appears functioning on the outside, but she is still traumatized by the past events, medicating both with prescription meds and alcohol. Not even her love interest (a fellow teacher) knows anything about her past.
Her son John doesn’t understand the severity of what his mother has been through. He repeatedly tells her to get over it (not the brightest moment despite him being a teenage boy). More teenage characters are introduced in the form of his girlfriend played by Michelle Williams in her Dawson’s Creek prime, and two friends.
John and the group want to stay at the empty boarding school while everyone else goes on a camping trip. What they think will be a romantic couples’ weekend turns into anything but. Michael catches up to Laurie and finds his way into the premises. What ensues is a blood-shed with some creative kills and full-on suspense.
Laurie takes a stand against Michael as she chases him down axe in hand, ready to finish this once and for all. This leads to a showdown with a glorious finale as Laurie decapitates Michael, seemingly ending his reign for good (or so we think).
Overall thoughts
Halloween H20 is a great overhaul of a franchise that was running out of steam. It encapsulates everything about the 90s, from the camera work to the soundtrack to the cheesy one-liners. It has a star-studded cast of the sweethearts of the decade and who could be mad at Jamie Lee Curtis’s comeback?
This movie takes an interesting approach to Laurie’s character. She spends the second movie kind of helpless waiting for someone to save her, however this time she takes the lead and faces her trauma head-on. Other characters have just enough development to make you care for their survival. The atmosphere is very reminiscent of the first one as well, with a bit of a slow burn before the big finish.
Ultimately, this is the most entertaining instalment of the franchise and has a lot of rewatchability for those movie nights. Slasher 2.0 at its best.
- Jamie Lee Curtis, Josh Hartnett, Adam Arkin (Actors)
- Steve Miner (Director) – Debra Hill (Writer) – Bob Weinstein (Producer)
- English (Subtitle)
Last update on 2025-01-30 / Affiliate links / Images from Amazon Product Advertising API
Movies n TV
Luiso Berdejo’s Feature-Length Debut, or The New Daughter
The New Daughter (2009) is a PG-13 horror film & Luiso Berdejo’s feature-length debut based on John Connolly’s short story of the same name.
The New Daughter (2009) is a PG-13 horror film and Luiso Berdejo’s feature-length debut. The film is based on John Connolly’s short story of the same name. The New Daughter stars Kevin Costner, Ivana Baquero, Samantha Mathis, and Gattlin Griffith. As of this review, the film is available on VUDU Free, The CW, Hoopla, Tubi TV, Freevee, and Plex, with additional purchase options.
John James (Kevin Costner) moves his children to a rural South Carolina town to start anew after his wife leaves him. Louisa James (Ivana Baquero) can’t stand this change, and Sam James (Gattlin Griffith) doesn’t understand why his mother isn’t with them. But after finding a burial mound, their attitudes suddenly switch. As John uncovers more of their new home’s history, he realizes there’s much to fear.
What I Like About Luiso Berdejo’s Feature-Length Debut
Despite its 2009 release date, the Academy of Science Fiction, Fantasy, and Horror Films nominated it for the Saturn Awards’ Best DVD Release in 2011. As Luiso Berdejo’s feature-length debut, the film manages to hold an audience with a tight script and direction.
The acting sells this ominous mystery, which might otherwise become obscure amongst others in the genre. In particular, Kevin Costner’s John James and Ivana Baquero’s Louisa James center The New Daughter around their characters’ strained father-daughter relationship.
Ultimately, The New Daughter thrives in its atmosphere and execution. If we take the film plot point by plot point, The New Daughter doesn’t break the mold. Between Luiso Berdejo’s direction and the writing of John Travis and John Connolly, however, the film executes this uncomfortable tension that invests viewers.
Last update on 2025-01-28 / Affiliate links / Images from Amazon Product Advertising API
It’s in The New Daughter‘s execution where it haunts its audience. There’s this uncomfortable powerlessness as John attempts to protect his family against the horrors in the mound and its corrupting influence.
The ending might seem uncommitted, but I would disagree. The film executes a balance between hope and horror that leads to ambiguity but doesn’t leave the audience dissatisfied. A bolder film might conclude with an unhappy ending, but The New Daughter gives a sliver of hope in its dark ending.
Tired Tropes and Triggers
A cat dies in the film. The act isn’t shown, but I understand this can be a dealbreaker. In loose connection, there are also animal carcasses.
There’s a loose and underdeveloped connection to Native American mythology, following along the idea of “Indian (Native Americans) burial grounds.” While this initial thought proves inaccurate, it still holds familiar plot points that might irk some.
There are some strange decisions revolving around Louisa. Needless to say, a part of the plot revolves around her beginning puberty. While nothing is explicit, the creatures require a mate, which suggests sexual assault.
What I Dislike about Luiso Berdejo’s Feature-Length Debut
The aesthetic of the burial mound doesn’t seem particularly noteworthy. This becomes a problem when it looks like any hill in a forest. I don’t particularly see how the James family recognizes this as something strange and worth fixating on. As the film progresses, there are obvious reasons, but the aesthetic doesn’t execute this strangeness.
As addressed above, the premise remains familiar and safe, perhaps too safe. A family moves into a rural home, escaping a past withheld from the audience. The mother is out of the picture, and the father struggles to connect with his young daughter. I don’t subscribe to the idea that these are lazy points, but it might seem formulaic with how thick it dominates the film’s beginning.
Final Thoughts
The New Daughter is an impressive feature-length debut but one with notable flaws. There’s a familiarity and safety in the plot that hinders what could have been. However, the ominous mystery and acting provide the needed execution to create a haunting experience. If you’re looking for a horror following a terrified family against supernatural creatures, The New Daughter delivers.
(3.5 / 5)
After taking a week off, Dexter Original Sin is back. And while no piece of art can ever be entirely perfect, this was as close to perfect as I think we can expect.
The story
We start this episode right where the last one left off. Dexter, with a body in his trunk, finds his dumping grounds swarming with cops. So, keeping his head as cool as ever, he pulls out his forensic badge and pretends he’s supposed to be there. Then, he feeds the remaining arm from his second kill to the alligators before anyone can print it. But, not before Angel recognizes a distinct ring on the hand’s finger.
Jewelry really will be the death of Dexter.
While he might have gotten himself out of that mess, he still has a body to deal with. He decides to take it to a dump in broad daylight. Sometimes he acts like he wants to get caught. But then, maybe he does.
Meanwhile, the police are still looking for whoever kidnapped Nicky. There’s a horrific scene in this episode in which the poor kid has his finger chopped off. But this finger might well be the evidence that Miami Metro needs to catch the kidnapper because Dexter notices a sense of hesitation before the cut on Nicky that wasn’t present on the first little boy.
He also finds a drop of blood that doesn’t belong to Nicky.
Once again, it all comes back to blood.
What worked
As I’ve watched this series, and after consuming all of the rest of the work this franchise has offered us, one thing has become more and more clear.
Harry Morgan is a terrible human being.
Let’s just take this episode as an example. We see him strongarming a CI that he had an affair with, threatening to stick her in jail and drop her kids into foster care if she doesn’t keep risking her life for him. We then see him go home and lecture his wife, who he cheated on, for not forgiving him fast enough. And we know how this all ends for the Mosers. We know that Laura ends up dead and Harry takes the baby he liked, leaving Brian to the horrors of the foster care system.
- Michael C. Hall (Actor)
- Audience Rating: NR (Not Rated)
Last update on 2025-01-23 / Affiliate links / Images from Amazon Product Advertising API
The thing is, we were never supposed to like Harry. More and more I realize that Harry is the bad guy. He’s the antagonist of Dexter. And as I’m rewatching the original series, I see clearly that he’s been the bad guy from the start. And I think that’s such a brilliant idea.
Not quite as cool, but still impressive was the serial killer advice scene in this episode. Dexter, struggling with where to hide his dead bodies, researches how other serial killers have done so. We see him talk to Ed Gein, David Berkowitz and John Wayne Gacy. This scene brought the absurdity of the series to the forefront. Our main character admires these men. These monsters did horrific things. And we still, somehow, against all decency, like him.
Let me also just say that Scott Reynolds who played Gacy did a fantastic job. The body language and line delivery were just so creepy. For someone who wasn’t on screen for more than a few minutes, he knew how to make a killer impression.
Finally, I want to applaud the twist in this episode. But, as always, I want to do so without giving it away! I will only say that there is a large reveal regarding the person who killed the judge’s son and abducted Nicky. And, I have to say, I didn’t see it coming. It was amazing and raised so many questions. Questions I cannot wait to have answers for.
Honestly, everything in this episode worked. It was well-written, well-acted, and well worth my time. My only complaint right now is that there are only three episodes left.
Of course, it’s usually the last episode of a Dexter show that ruins the whole thing. Let’s see if they can avoid that this time.
(4 / 5)
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