Blending found footage and what appears to be grainy 16mm (they shot the film on an early Dv as a matter of fact), Kyle McConaghy and Joe DeBoer’s Dead Mail embraces the creepiness of its concept. Like Jane Schoenbrun’s I Saw the TV Glow or Kyle Edward Ball’s Skinamarink, this is the stuff of subconscious nightmares, though Dead Mail falls slightly more into the slasher camp. The film is effectively creepy from the feeling that––à la Harmony Korine’s Trash Humpers––it’s a relic of the past. Also, like Schoenbrun’s film, it suggests a story that could have been imagined from a 20/20 segment or a late-night documentary that a child should not have watched after their bedtime but nevertheless did.
Dead Mail delivers something original, playing its horror down the line, no doubt influenced by lesser slasher movies. Yet the picture is grounded in...
Dead Mail delivers something original, playing its horror down the line, no doubt influenced by lesser slasher movies. Yet the picture is grounded in...
- 3/26/2024
- by John Fink
- The Film Stage
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