Ohjaus:
Larry FessendenKäsikirjoitus:
Larry FessendenKuvaus:
Collin BrazieNäyttelijät:
Alex Hurt, Addison Timlin, Kevin Corrigan, James Le Gros, Marshall Bell, Barbara Crampton, Joe Swanberg, Michael Buscemi, Rigo Garay, Ella Rae Peck (lisää)Juonikuvaukset(1)
In a small town in upstate New York, Charley, a werewolf who’s been infected with the curse and is responsible for a series of brutal murders, confronts the most corrupt individual in the entire area, a real estate tycoon named Hammond. At the same time, he will try to win back his ex-girlfriend Sharon, the tycoon's daughter. (Sitges Film Festival)
(lisää)Arvostelut (3)
An indie horror film about a werewolf who decides to relieve the world of his existence, but before doing so, he plans to settle scores with a few of his neighbors in a New York neighborhood and confront a local real estate mogul using unfair practices. It's actually a pretty sweet and naive indie drama that hides its very low budget as much as it can, but the cheapness comes through a lot. Which, especially in the last third, makes for some (probably unintentionally) funny scenes.
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Blackout is a cheap, sometimes unintentionally ridiculous, often quite boring and, in terms of filmmaking, almost amateurish horror drama about a man who tries to put his life in order after the death of his father and breakup with his girlfriend. And he has also been a werewolf for a few weeks, but more is made of that only in the last (so bad that it’s good) quarter of the film. Until then, Blackout is mostly a stultifying and repetitive conversational film in which the protagonist uninterestingly talks with various people in his small town, where he tries to deal with the corruption around the local timber merchant.
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Larry Fessenden clearly has a deep love for genre films, but I can’t quite grasp his almost arty inclinations. He must have known he was making a low-budget B-movie, so why not fully embrace it and go wild? Instead, the main character spends most of the time running into people from his past, engaging in endless chatter, transforming into a werewolf at night to slash someone, and then going back to more talking. Mixed into this are odd attempts to pay homage to Lon Chaney Jr. and his Wolf Man, which comes across more like pissing into an open grave under the moonlight. It feels like Larry finally realized he was making a B-movie in the last fifteen minutes. That's when he breaks out of the dull monotony and unleashes a solid shitstorm, delivering some genuinely intense moments that leave a mark. If the entire film had maintained that mode, I would have howled with satisfaction.
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