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Abominable (2006)
The most entertaining Bigfoot movie in recent memory
The greatest killer Sasquatch movie ever made? Perhaps. Have there been that many good killer Sasquatch movies? Not really. Is the term "killer Sasquatch" redundant? I suppose so, as I've never seen a friendly Sasquatch movie. (No, "Harry and the Hendersons" doesn't count.) Ryan Schiffrin's film is entertaining beyond its small budget, as he wisely chooses to keep the monster hidden from full view until it nears its climactic conclusion.
By combining elements of Alfred Hitchcock's "Rear Window" to what should be a rudimentary Bigfoot story, director Schiffrin has crafted the most entertaining Bigfoot movie in recent memory, and perhaps the strongest entry in the genre that I personally have ever seen. It has everything a good Sasquatch movie should have – solid entertaining characters, some wonderfully campy violence, and a monster that is hidden from sight often enough to generate some genuine suspense.
The film takes place nearly entirely in the protagonist's cabin in the woods. Being confined to a wheelchair he spends his time looking through his binoculars watching a houseful of girls, on vacation for the weekend, next door. Things get a little crazy when he sees what appears to be a Bigfoot, and the girls start to disappear
You can definitely see the influence of "Rear Window". This never takes away from the film however, as it certainly stands well on its own. There's enough Bigfoot violence that before you know it, you'll forget all about the similarities. "Abominable" is pure fun and never tries to be anything else. For this reason, it succeeds when other Bigfoot movies have failed. The Bigfoot monster was never meant to be taken seriously, just as the film "Night of the Bloody Apes" could never be taken seriously. (Come on, there are certain connections
One's about a giant man-ape terrorizing people; the other a Mexican wrestler turned titular 'bloody ape' terrorizing people. Point proved.) It's a fun popcorn horror movie - no more, no less.
The cast is great - Lance Henriksen, Jeffrey Combs, and Dee Wallace will be familiar to any self-respecting horror fan, though their appearances are brief. Matt McCoy is good as the wheelchair-bound protagonist, which is probably a result of this being his fourth Bigfoot-related project. (After "Little Bigfoot", "Bigfoot: The Unforgettable Encounter", and starring next to Bea Arthur in an episode of "Golden Girls". Zing! Okay
only two of those actually have anything to do with Bigfoot
) Paul Gleason ("The Breakfast Club") is always fantastic. The beautiful Haley Joel also holds her own as the lead female, despite her limited acting experience.
If you wake up one morning, and say to yourself
"Tonight
I think I could go for a Bigfoot movie." You could definitely do worse than "Abominable". And realistically, I don't think you could do any better. Bigfoot films are apparently very difficult to make well. So, take the good ones where you can get 'em.
A tidbit for you
Bigfoot must be pretty much universally recognized as a legitimate figure and hold some cultural significance, as not only is it listed in the dictionary (
a very large, hairy, humanoid creature reputed to inhabit wilderness areas of the U.S. and Canada), but Microsoft Word won't even let me get away without capitalizing the B. Imagine that
Jason Pitt - Critical-Film.com
Shadowland (2008)
Beautiful and Engaging
What Wyatt Weed (try saying that three times fast
) has done with "Shadowland" is nothing short of remarkable, in my eyes. The vampire sub-genre is seemingly very difficult to tackle well, and as a result there are very few effective films that fit this categorization. Most filmmakers approach the material in a very similar fashion, and the genre's most significant hindrance is its lack of originality. Weed approaches the material from a different and wholly unique standpoint, crafting a breathtakingly original vampire film. One that is rife with beautifully polished visuals and a depth of character seldom seen in this type of film. "Shadowland" unfolds from a different perspective than what we're accustomed to seeing in traditional vampire films. The thought of "vampires are evil, humans are good", is disregarded in favour of a more character driven plot, suggesting a level of internal conflict seldom explored within this type of movie.
The film opens with a sequence set in 1897, in which the film's central character of Laura, a vampire, is staked and buried. She is unintentionally unearthed in the present day with no memory and no voice. This is all I will mention about the plot behind "Shadowland", and yes I know that synopsis is as bare bones as it can get. Revealing any more would be a disservice to you, the potential viewer, as "Shadowland" is structured in a way that benefits from knowing as little about the film as possible.
After these events are established, the film is told in a manner that uses flashbacks to establish the characters, their motives and the events that have led to the present day occurrences. In the hands of a less capable director, this method of storytelling could be distancing and confusing for the audience, yet Weed uses it as a method to further the story in the most effective way possible, using the technique to reveal to the audience past events that led to Laura's ultimate burial. These events are revealed as they are triggered within Laura's memory, and as such, we are as much a part of the film as Laura, watching from her perspective, as she regains her memory.
Giving even more credence to the character of Laura is actress Caitlin McIntosh. She conveys so much emotion through her expressions, it astounds me. She has so few speaking lines throughout the film, yet manages to give an unbelievable amount of insight into the character of Laura. McIntosh carries the weight of the film on her shoulders from beginning to end, and "Shadowland" is a better film because of it.
Unfortunately, actor Jason Contini doesn't seem to have the same natural charisma or screen presence as McIntosh, and as a result his dialogue occasionally seems stilted and unnatural. He doesn't seem to have a natural chemistry with many of his co-stars, which makes a few of his sequences seem slightly out of place. One sequence however, has Contini and Carlos Antonio Leon (the character of 'Lazarus') having an entertaining exchange of dialogue in a back alley. Leon has an amazing screen presence, and his sequences are enjoyable simply because of the way he presents himself. Jason Contini works off of Leon's presence and the two elevate the scene to a level above any other sequence Contini appears in. This dialogue then leads to a very impressive close-quarters fight, which is much more polished than it should have any right to be.
"Shadowland" was made for a very modest budget I'm sure, yet feels as though it were a multi-million dollar production. Everyone behind the scenes seems to be very capable, as the film is amazingly sound, technically. In front of the camera nearly everyone does a fantastic job, from the leads, to the smaller supporting cast. It is because the film is so well executed in nearly every regard, that the odd time in which something seems less than perfect, it just seems to stand out a little bit more. There is nothing in the film that detracts from its quality any more than a minuscule amount, however.
It's obvious what Wyatt Weed was attempting to accomplish with "Shadowland", and he's done an incredible job. "Shadowland" relies on character and storytelling, more than violence and scares. In fact, there's not a scare to be had in the entire film, and no graphic violence. It's this approach that separates Weed's film from the disposable vampire films of recent memory. It is beautiful and engaging, and should be viewed as an incredible achievement for everyone involved. "Shadowland" is a great movie to be sure, but above and beyond that, it should be viewed as an important work in establishing the potential of the vampire as an emotionally conflicted character with dimensionality.
Jason Pitt - Critical-Film.com