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As for me, well I had no shortage of faith that the boy would do good as he had supplied me no reason whatsoever previously to believe otherwise.
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As far as acid tests are concerned, this one was of the most astringent variety as chances like this to further your craft don’t come along every day and this one had the potential to either make or break him. Them’s two damn good reasons to be decidedly chipper right there.īlair Witch could have gone one of two ways for Wingard, as while the odds of it turning a net profit were overwhelmingly in his favor, failure to deliver an end product that pleased both long-suffering fans and the original’s bitter detractors would be made very much public. Better yet was the personnel involved, with Tennessee-born talent, Adam Wingard (You’re Next, The Guest), and his frequent collaborator Simon Barrett helming the project.
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That said, when it was announced that Lionsgate had decided to resurrect the series and deliver it back to its origins, I couldn’t help but release a tiny squeal of delight at the prospect. Granted there have been sweet spots and Adam Robitel’s The Taking of Deborah Logan is one such high point but on the whole the output has been uninspiring to say the very least. I’ve spoken on numerous occasions about why I find found footage films to be a long, hard slog with minimal pay-off and have seen precious little over the past decade to convince me otherwise. With that, the hysteria passed, but not before encouraging every other aspiring filmmaker on the planet with limited funds at their disposal to take a stab at this bare-bones sub-genre. Interestingly, those who dislike the original tend to prefer its sequel, but those of us chomping at the bit for another night roughing it in these worrisome woods were left pondering what might have been. Alas it was not to be, as while still turning a decent enough profit, Berlinger’s more mainstream effort was pretty much unanimously panned by critics and viewed only as an exercise in milking the cash cow. Naturally Artisan Entertainment were keen to further cash in on this phenomena while the going was good, and eighteen months later, Joe Berlinger’s Book of Shadows: Blair Witch 2 stepped up to the plate with high hopes of emulating its predecessor’s outrageous fortunes. Say what you will about it, but $250 million in box office revenue is certainly not to be sniffed at. I know one thing, orienteering appealed a great deal less after this particular ill-omened ramble. I guess a lot depends on what you find scary and your willingness to trek through the Black Hills Forest without a trail of breadcrumbs to bail you out.
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Personally I believe it put nary a hiking boot wrong, and while I understand why some may have found it much ado about nothing in particular, seldom has my skin felt so loose around my bones as it did for the last five mortifying minutes. Eduardo Sánchez and Daniel Myrick’s found footage frightener is either one of the most terrifying movies ever committed to celluloid or one of the most shamefully overrated, dependent on which side of the fence you fall on. There are few films as utterly divisive as The Blair Witch Project.
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