A must-see horror movie for TikTok’s attention spans – The Hollywood Reporter

Mark Polish, Michael Polish’s less successful filmmaking twins, has little to say about today’s young people in Whisperaim to become a Blair Witch for digital natives. Throwing half a dozen annoying social media makers into the woods with just cell phones and a deeply questionable game they won’t stop playing, it might look like a wary allegory if it’s only maintain any distance from its main characters. Instead, it fits perfectly with TikTok’s screen-based storytelling and attention span, as a result most viewers who aren’t addicted to such things will find it unresponsive right from the get-go. The first moment. Even putting such opinions aside, its value as an extraordinary horror picture is second to none, and when the screen-based anarchy unfolds, it ranks much lower than peers like Spree.

Murmur is the name of a new app, like Pokémon Go (hello, old man), that uses your phone’s screen to integrate digital elements with the real world. It’s kind of a game, but no one in this five-person YouTube group seems to know anything more than that. So why not hire a van, hike to some completely abandoned part of Redwood National Park, and purposely get stuck while we’re snooping through it? Surely videos about that will get a lot of engagement on the channel? Fast-forward to a press conference, in which local authorities discussed the bodies found along with six cell phones, suggesting things won’t go that way.


Key point

Click ‘unsubscribe.’

Location: Oldenburg Film Festival
Cast: Logan Poland, Johnny Jay Lee, Megan Lee, Cyrus Arnold, Brandon Wilson, Colin Ford
Director-Scriptwriter: Mark Polish

1 hour 33 minutes

(A sixth person – their estranged friend Maze – came here independently, and will meet our gang again after being separated from his companion, and seem to forget her even about her. even exist.)

Angel (Cyrus Arnold) and Buster (Johnny Jay Lee) represent some of the noisiest types of content producers: respectively, people who never know when to stop joking around (especially about reproductive organs). education) and those who constantly strive to maximize the appeal of screens in everyday life. If you notice the positive self-promotion of the average YouTube channel revolution, you’ll enjoy watching the movie Buster after revisiting the same intro, trying to hit the right note of overconfidence.

Joining these two are Tiger and Kenzie (Logan Polish, the director’s daughter, and Megan Lee), and Zach (Brandon Wilson), the quiet man who controls the group’s prosumer camera gear. Colin Ford’s Maze (Tiger’s brother, real name Matthew), whose channel seems to be much hotter than the one these people run, will soon cross the street with them, swinging real swords around the woods for a reason. while wearing a VR headset.

If you’re a character in a killer movie, chances are you’re one of the most annoying representations of your demographic that a screenwriter (possibly twice your age) could dream of. to wish. But these kids don’t even like it together much, and they dispersed in the woods with no apparent motive except, understandably, out of the ear of others. An interesting idea, but in this case a bad one.

Poland offers little of the POV business found in regular slasher movies, instead creating a much less convincing set of moods: We see a bunch of scary stuff (from the real world). sinister objects to wild boars and zombies) exist nowhere but the screens our heroes are glued to. If they just put their phones down, maybe they’re less likely to fall into bear traps and get hit by a tree branch?

Both of those things happen, with so little drama in the making that you could miss the event itself and just be stuck with such accidents for so long. While some members of the team worry about bleeding, others are far away, arguing with the app’s customer support phone reps or spotting rotting homes they know they have. should not enter. But they do, uncovering more questions that the film doesn’t care enough to answer.

Amid the careless jostling of the camera, the relentless insults and complaints, a bored viewer can scrutinize the Polish approach to engineering in detail. In a film whose look is built from cell phone and security camera footage, how visible celluloid and static chain holes reminiscent of VHS tracking problems emerge present here? Is mobile data coverage really that great in Redwoods? Who’s going to subscribe to the videos these atheists are doing?

“Honestly,” one of them said midway, “I’m like why the hell is this game happening?” Great question.

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