Found Footage Fave: Godforsaken (2020)

Featured

Reason for filming: A documentarian stumbles upon a bizarre story and decides to make a movie about it

Director/Writer: Ali Akbar Akbar Kamal

What’s the horror: Supernatural, religious, cult

Does the dog die? Yep. The dog dies in this one. It’s right at the end, but it is shown after being killed. Oh and a cat gets eaten. Off-camera, but still eaten.

Gore factor: Low. There’s some blood and a few open sores, and one person getting his cheek bitten off.

Re-watch scale: Heavy rotation. In spite of a disappointing third act, it’s a unique story and very well done.

Filmed in a very chilly Canada, Godforsaken tells the story of Chad, a filmmaker who goes back to his hometown to attend the funeral of his classmate, Lisa. Chad hasn’t gotten that big break yet, but when Lisa returns to life during her funeral, he understandably thinks he’s onto something big.

Godforsaken benefits from a unique story that is well told. It’s clear this is more plotted and scripted than your average low-budget found-footage horror, and as usual, this leads to a much better film that moves along at a rapid pace. Lisa comes climbing out of her coffin in the first scene, and instead of front-loading the movie with a bunch of “let’s get to know our characters” blah blah filler, we get to know them as the crazy around them unfolds. Please take note of this, found-footage movie makers.

Yep, it’s Canada, and it’s cold.

The camera work is pretty shaky in this one, so take your Dramamine. Overall, the acting is good, with Nicole Fairbairn (the mother) and Chris Laskin (Chris) as particular standouts. Mom, in particular, has a lot of heavy lifting to do in this film, and she runs through the whole gamut of human experience in a short period with aplomb. More work for this woman! But the biggest strength of this movie is the story, which has not been done before in found-footage, at least not that I’ve seen, and the result is a good, suspenseful freakout that ratches up the chaos with every scene. It also leaves us guessing for most of the runtime as to what is really going on, and unfortunately, this is where the film leaves me wanting. The third act, when the truth about Lisa is revealed, devolves into fairly common horror tropes and loses some of the momentum of the previous two acts. But it is still worth watching for how well the movie builds up to that letdown. It’s not that the ending is bad; it’s just that we’ve seen it before, and when the rest of the movie feels so inventive and new, I can’t help but be disappointed by that. But it’s still a recommended watch.

Now, let’s break it down. You know the drill: SPOILERS AHEAD! DON’T SCROLL IF YOU DON’T WANT TO KNOW!

We start off with our filmmaker, Chad, turning on his camera as he exits his car in front of a church. It’s cold, it’s snowy, it’s Canada. It’s a funeral. We meet Chris, a friend of Chad’s, right away, as he is heading towards the church with his parents. Chris is in a wheelchair, which will be important later. For now, he’s with his mom and dad, and Chris’s Mom gives off some major community-theater vibes from the jump. She’s the only truly weak actor in the film, and when she’s onscreen, it’s pretty cringe. Chad enters the chapel, still filming, and his mother, clearly a member of the clergy due to the white robes she’s wearing, tells him it is inappropriate, which it is. Not that Chad stops filming because of that, because of course he doesn’t. We get some more shots of the chapel, and from a balcony, Chad zooms in on Lisa in her coffin. Lisa looks decidedly not dead. She doesn’t look undead, mind you, just not dead.

It’s unclear to me what happens between the time Chris shuts off his camera and turns it back on again – has the funeral ended? Has it even started yet? I cannot tell. Chad is standing outside the chapel now, complaining about hating funerals, when we hear a commotion break out inside the church. Soon, the hubbub transitions into screams, and people start streaming through the chapel doors, shouting and crying. We’re all of two minutes into the movie and weird shit is popping off, so thank you, director, for being efficient.

Chad tries to get someone to tell him what is going on, but everyone is standing around holding onto each other and screaming. He goes inside and finds Chris at the back of the church. Chris points him to the front of the chapel, where the coffin has fallen to the floor. A lot people are standing around it, including Chad’s mom Nicole, who is trying to comfort Lisa’s mother. Good luck with that, Nicole, because Lisa’s arm has just popped out from under the coffin and withdrawn just as quickly. The audience gives one collective scream at this movement, and then goes completely silent waiting to see what will happen next. It’s a very effective little moment, and when Lisa starts crawling out the chaos resumes. Lisa looks undead now, y’all. In case that doesn’t clue anyone in, she starts growling and moaning to express her displeasure at her current state. The mourners get the message and start making for the door. Lisa is running around grinning and growling and generally doing her best to scare the shit out of everyone.

Lisa’s mom is elated that her daughter’s not dead, but after hugging Lisa for a few moments, she pulls back and cries that it’s not Lisa at all. Mom then tries to strangle her, as you do when your undead daughter turns out to be possessed or whatever. I’m just guessing here; I never had kids. Lisa breaks free and takes off back into the church, where Chad quite unwisely follows her. He can’t find her, so he cuts back to the foyer where the police have arrived. For some reason, no one can articulate to the officers what’s just happened. Chad’s mom tells a cop that “some weird situation” just happened in the church, which is quite the understatement. How hard is it to say “a dead girl got out of her coffin and ran away”?

Chad’s friend Chris, however, has a different take on things. As he wheels himself out of the chapel he asks Chad, “Was that not the coolest shit ever?” Heh. Love that guy.

We get the title card, and then we meet Dom, one of two assistants who will be helping Chad make his documentary about Lisa. Chad tells the camera that he is driving from Toronto to his hometown of Minto to try and find out why a girl came back from the dead during her funeral – see how easy that was, Nicole? The behind-the-scenes footage is as boring as it ever is in a found-footage film, except for when Chad mentions that there’s no train to take to get back into town, which makes Dom lose his mind. THERE’S NO TRAIN?! THERE’S NO TRAIN? he starts shouting at the top of his lungs, and if that’s his reaction to learning there’s no public transit in this town, he’s really gonna have a problem when the dead girl shows up. Seriously, it seems as if the director told this actor that he was going to be the ‘difficult’ one who complains about everything and he ramped it up to 11 from the jump. Take it down a notch, bro.

Dom, Lisa (alive), Chad, and Katie

Chad backgrounds Lisa’s story a little, talking about how in school she always claimed her house was haunted and she would jump up on desks and start screaming about demons, which you know, normal high school memories and all. She even drew Chad a picture of the demon that haunted her, which we’ll soon find out he saved, and all of this is making me wonder if Chad and Lisa were good friends or not. Chad claims they weren’t close, but he saved her demon picture? Weird. Convenient, but weird. Moving on.

Soon we’re at Chad’s mom’s house (hi, Nicole!) and Dom is being borderline inappropriate, telling Nicole that Chad is high within seconds of meeting her, and later, shouting fuck out loud so many times Nicole has to scold him like a child.

For the record, Katie can be a little weird too; when the three are watching the footage Chad shot of the funeral, she says, “People don’t scream like that unless they know something,” and I am still trying to understand this sentence. Any way you look at it, it makes zero sense. Even if you don’t know what she’s referencing when she makes the statement. How does screaming = knowing something? I cannot comprehend. Moving on.

She’s not screaming because she doesn’t know anything, I guess

We catch Mom on camera being asked about the whole Lisa coming back from the dead situation, and she says she doesn’t think they should be talking about it. Not sure why she would agree to be interviewed for a documentary specifically about Lisa, then. Although she does call the situation weird and mention she’s scared to go outside, she’s still pretty blase about someone COMING BACK TO LIFE DURING THEIR FUNERAL. If you tried to interview me about this, you’d be filming an empty chair, because my ass would have left town already. But Nicole’s still here, even though, as she says, Lisa’s been missing for four days.

The gang go to Lisa’s house to try and interview her mother, but they find her screaming in the basement with a big-ass knife she wields to chase them away. So there’s that. Although the more that I think about it, I’d probably run to the basement and scream for four days and arm myself with sharp cutlery had I seen what she’s seen, daughter or no. So scream on, Mom. I got your back. Dom screams “crazy fucking bitch!” at Lisa’s mom as they drive away, which seems insensitive even if she did try to kill them all. I mean, she’s been through some things lately, Dom, so maybe tone it down a bit.

We get a little bit more background as the team visits a local bar that Chad used to own; apparently, he sold it and moved away after his dad died to try and make it big as a filmmaker. Then it’s nighttime and the trio is walking home, even though they clearly drove to Chad’s former bar because we see them get out of the car. Whatever. Walking around at night seems like a bad idea right now, but they don’t appear to be bothered, and neither does Chris, who’s sitting on his front porch smoking weed as they walk by. They stop to partake, and we meet a dog we definitely should not get attached to. Dom suggests they title the documentary “question mark,” which I’m assuming means the symbol and not the words, and that’s about the worst idea anyone in this movie has had since deciding to walk around in the dark when there’s an undead Lisa on the loose.

Anyway, they smoke with Chris a bit, and discuss how weird the whole situation is. Chris looks unwell, you guys. He’s freakishly pale. Maybe he’s just really cold. It’s Canada after all. Katie and Chad call it a night after a few puffs but Dom says he can handle more, which I agree with if it chills him out. It doesn’t. After talking with Chris for a few minutes, who backgrounds about his history with Chad (old friends, etc. etc.), Chris looks across the street and says, what’s that? Dom turns the camera around and they both appear baffled for a while at what they’re seeing, which is stupid considering there’s an undead woman on the loose. Gee, I dunno, what do you think it could be, guys? Well, it’s Lisa, and she starts charging straight at them.

Chris wisely turns tail and wheels himself back into his house, while Dom runs away shouting his lungs out for Katie and Chad, who are still walking home. Dom tells them that dead girl Lisa has just run into Chris’s house, which we didn’t see but I’ll go with Dom on this one, and then he yells at Chad “WHY DID YOU BRING ME HERE, MAN?!” Chad brought you here to help him film a documentary about a girl who rose from the dead during her funeral, Dom. We know you know this; we all saw the scene where Chad told you. Maybe Dom was too distracted by the lack of trains in Minto to remember? Moving on.

So here’s where the movie gives us our first (well, second really) surprise: as the gang rush into Chris’s house, expecting to find a bloodbath, what they find instead is – Chris, walking. Walking. His parents are shouting for joy at the sight of their paralyzed son WALKING, and his mom is still a terrible actor. Chris is stumbling a bit, but who knows how long he’s been in that wheelchair, so suddenly being able to use his legs is dicey at first. Meanwhile, WHAT THE FUCK? Allow Chris to explain.

He looks even more pale now, with red-rimmed eyes, but considering he just regained use of his legs I can understand why no one’s concerned. Apparently, after Chris came back into his house, Lisa just walked right through the door (like, through the door, meaning it was closed) and telepathically told him to calm down, then put her hands on his legs and healed them so Chris could walk. Then she asked – telepathically again – if she could stay in Chris’s house, and at that point what is Chris going to say? So yeah, Lisa’s now hanging out in Chris’s basement. I mean, when the undead heals your paralyzed legs, you let ’em shack up in your basement, right? Even if they still growl and have creepy green skin and – well – eat Mom’s cat. Granted, she does ask first – telepathically – but yeah. Bye bye kitty.

Chris and his family are 100% Team Lisa now, talking about her as if she’s the Second Coming. They’re immediately wide-eyed and freaky over her, and talking like brainwashed cult members, something that does not go unnoticed by Chad and company, who follow Chris into the basement for the unfortunate end of Mom’s cat before getting the hell outta there.

Back at Chad’s house, Dom tells the camera that he’s freaking out and doesn’t know what’s happening, and this time it makes sense so no annoyance here dude. Katie’s ready to bail also, and while it didn’t make sense they’d be freaked out by Lisa being undead and all, since clearly Chad told them that before they signed on, but said undead being some sort of spiritual healer sure as shit came out of left field, so I’m with Katie. Meanwhile, Chad’s mom is on the phone trying to talk Chris’s mom down from her Lisa-fixed-my-son’s-legs euphoria, to no avail. I mean, miracle cures are super-exciting and all, but shit like that rarely comes without a price, and no one’s gotten the bill yet – but Chris’s mother isn’t ready to consider such things.

Katie decides to stay because of course she does, so the next day they all go running down to Chris’s house when the – lead minister? Head minister? I don’t know the hierarchy here – of Nicole’s church shows up with the police and the fire department in tow. Looks like word’s gotten around about Chris’s healing, and I guess Father Andersen wants to check things out, but with lots of backup. Good call, Father. He’s not in there long at all before we hear a scream, and then Father Andersen, followed by the cops and the fire department, come running out and refusing to tell anyone what happened. They all just leap into their respective automobiles and tire-screech away, and it’s pretty funny, all things considered.

Dom films Chris’s family putting up a weird red “A” stand in their front yard, then cuts to an interview with Chris. He tells them he walked all around the neighborhood and told everyone about how Lisa healed him and could do the same for others. He tells Chad this is what Lisa wanted him to do, and that all she wants is their faith and appreciation. Then he takes them into the basement where a mother and almost-as-pale-as-Chris kid are standing, waiting to enter the sealed-off room where Lisa spends her time, eating cats and healing the sick. They go inside and we hear screams at first, but that’s a fake-out – soon the kid exits the room looking less pale and more healthy, which is enough for everyone, I guess, because they all lose their shit and start shouting for joy. It’s a lot less impressive than giving Chris use of his legs back, but never fear – soon there’s a long line of people waiting to be healed with various visible ailments like infected eyes and burn-scarred faces. Lisa heals them all. Unfortunately, Chris’s mom is one of the devoted now, and we all have to watch her bad over-acting as she encourages people to step through the decidedly creepy-looking basement door and get their heal on. Cringe. Soon everyone is putting up red “A’s” in their yards and dancing around them like they’re maypoles.

Seems the whole town went Full Lisa pretty quick, which hasn’t done much for church attendance. No matter, because Father Andersen has skipped town, leaving Nicole in charge. He does leave Nicole a message though, telling her he doesn’t understand what’s happening but he knows it can’t be good. Nicole agrees.

Chad and the team are talking about how one of them should go visit Lisa in her healing basement. Katie is all for it, while also making it clear she won’t be the one to go in. Dom tells Chad to take some time and think that over. As things escalate, Dom sounds more and more like the sane one.

Dom’s also the one who sees Father Andersen standing in front of Chris’s house, wielding a cross and gesticulating about. Chris speculates that maybe Father A. is blessing the house, but we all have eyes and can see that whatever the guy is doing is more serious than that. Before the team can speculate further, Father Andersen stabs himself in the face with the crucifix.

So long Father – we barely knew ya.

Cut to Mom doing a good job crying and wondering why Father A would do such a thing. Chad and Katie comfort her while Don films, and eventually Katie gets up and snaps at Don to turn off the camera, which I’m not sure required her to be so snippy since it’s good footage for the documentary, but whatever.

Maybe they just needed an excuse to cut to the next scene, which is Nicole at Chris’s house trying to get his mom to see reason. Mama Chris’s terrible acting reveals that she’s never climbing down from Lisa Mountain, so Nicole does what may have seemed the right thing to do at the time, but turns out to a big mistake: she decides to go challenge Lisa’s savior status by confronting her in the basement.

As soon as Mom gets the statement out that she knows Lisa is not God, Lisa grabs her head with both hands and Nicole immediately falls into some sort trance. She stands there with her eyes closed for a good 35 seconds before Lisa grabs her head again and Nicole loses her shit. She starts looking around and screaming for someone to help her, and it’s truly terrifying. It’s clear she is somewhere else and seeing something, just not anything that’s really around her, and then she falls on her knees and begs Lisa to forgive her. Her voice is pathetic now, and she appears to be broken beyond any repair. It’s the best, most tense scene in the movie, IMHO, and it works because the actress completely nails it.

Cut to the gang in Mom’s bedroom trying to console her to no avail – mom’s crying and whining in a way that sounds more animal than human; just really gut wrenching, pathetic wails and cries. Somewhere in there someone gets mad at Don for filming but it feel perfunctory, like the movie knows Chad should feel that way even though there’s no movie if Dom agrees, so we all know he won’t.

They decide to get Mom outta there and attempt to get her down the stairs and out the front door, but mom escapes and runs to the basement, where Chad and company find her holding a knife to her throat. She tells them Lisa won’t let her leave, and that they have no understanding of what Lisa did to her, which is accurate: beyond fucking her up big time, we have no idea, but it’s clear her brain is broken. Chad ends up promising Mom that they won’t make her leave the house, and then Dom barrels his way over to Chris’s house to resolve the issue in any way he can.

This is not the solution Dom was looking for

Instead, Dom finds Chris’s parents dead on the sofa, and then Chris comes down the stairs, laughing and giggling like a maniac and talking in a strange high voice about how this is the day they get to be with Lisa, and he’s got a gun in his hands and spends a few seconds trying to convince Dom how great whatever’s going on is, and then we hear a gunshot in the distance, and then Chris takes the gun he is holding and shoots himself in the head with it.

We hear more gunshots going off, and my first thought was dang, this town has a lot of guns. My second thought is the same as Dom’s, which is let’s get the hell outta here. But more gunshots are firing and the first thing we see as Dom leaves the house is someone hold a rifle up to their heads and pull the trigger. Man, whatever Lisa is up to here making everyone unalive themselves is sure being helped along by the high percentage of gun owners in this town. Guns don’t kill people y’all – Lisa kills people.

Unfortunately, the suicide mania that’s taken over the town has gotten into Nicole’s head too; she may not have a gun, but she’s still got a knife, and after explaining to Chad that Lisa buried her alive for centuries and she’ll do it again if she doesn’t comply with Lisa’s orders, she manages to stab herself in the neck and bleed out. Chad’s mom, noooooooo!! And with the death of Chad’s mom comes the death of the film.

What happens next is so disappointing and predictable that I am not going to recap it-why bother when we’ve seen all of this before over and over. Everyone who kills themselves rises from the dead as murderous zombies. Mom kills and eats a dog, then bites Dom. Dom takes a ridiculously long time to turn into a zombie but eventually does. Dom bites Katie, I think, or some other zombie does but honestly who cares, and she turns into a zombie in about half the time of Dom. When did zombies biting people and turning them into zombies became the way to spread Lisa’s dark magic? Up until now this was not a zombie movie. Lisa’s no zombie; she’s eaten no human flesh and has healed people, not killed them, and the only way to be infected by Lisa has been to actually approach her. Based on how good this movie has been up until now, you might be tempted to think the movie has something else up its bloody sleeve – but it does not. The zombies multiply and Chad is the last survivor standing, continuing to film until the moment Lisa herself kills him. The end.

There is one thing that happens here that explains this whole Lisa-rising-from-the-dead event. We get a scene of Lisa’s mother with a big ol’ knife, basically describing how she cast some spell to bring Lisa back. I don’t remember how the scene played out because it really wasn’t memorable, and I forgot all about it. So I am lazily shoving this paragraph in to make sure you know. You’re welcome.

I have no words for how lame this ending is in light of everything building up to it. And it’s not just the last five minutes, either, we’re just a little more than halfway when the zombie apocalypse begins, so that’s a lot of running around trying to avoid a bunch of uninteresting, run of the mill undead. Maybe this ending is Lisa’s real revenge. Do cool shit to get everyone interested and then drop us all into horror trope hell. Couldn’t you just bury me alive instead, lady?

Oh no guys look. It’s a zombie.

For the life of me I cannot understand why this is the way the filmmakers chose to end this movie. What if instead, the gang decide to kill Lisa and that takes up the third act of the movie? Or when people kill themselves, they stay dead, so the gang runs around trying to stop people from committing suicide? Those are just two ideas off the top of my head but either one of them would be better than 20 minutes of running from place to place and trying not to die.

I still recommend this movie in spite of its disappointing third act. The first time I watched it, it didn’t even bother me, because I fully expected another twist, but then Lisa ate Chad and it was over. The second time I watched it I realized the ending was a massive disappointment. It’s such a shame when the film has been so unique up to that time – maybe they just ran out of time to film anything else? I don’t know, but I do know this is a good movie that could have been great, which is a tragedy itself, and Lisa had nothing to do with it.

Currently you can watch Godforsaken on the Found channel, and it’s free with ads.

barbie fashion passion

My next photoshoot with my You Create Kit #1 Barbies was an improvement over the previous one. I actually didn’t mind the time it took to set these up for some reason; I guess I am getting used to the differences between other types of photography and doll photography. I’d also like to start taking photos of Nacogdoches and East Texas, but that’s a post for another time – I haven’t started doing it yet so we’ll see how that goes.

This sign was hanging up in my bathroom but it fell off the wall, so I figured what the hell, let’s take pictures of it! I don’t think it totally works because there’s a lack of diversity among these dolls – there are different ethnicities represented, and one curvy doll, but for the message of the sign I think there should have been more variety for it to be truly effective. Mattel makes Barbies in wheelchairs, with prosthetic legs, vitiligo, and Down’s Syndrome – just to name a few – and the inclusion of such dolls would have really worked better. But I worked with what I had.

It was a happy accident that the lighting turned out so cool in these shots. I tried putting a light bender on my external flash and the results were better than I would have expected! Lots of nice shadows to play with.

When I first started photographing dolls, the stands made me crazy .I really thought I had to find a way to edit them out of shots, which is tedious and imperfect. But now I include them if they need to be included without giving it a second thought. However, I’ve also gotten better at finding ways to pose dolls without using stands, too. It did take forever to get the doll with the short bob and scrunch boots to stay leaned against the shelf wall though; she fell over every time I messed with any other part of the set. The “set,” by the way, is a collection of table shelving I got off of Amazon that can be put together in different ways. Kind of makes me think of a Bob Fosse “All That Jazz” set.

Look ma – no stands!

I’ve been working on re-bodying some of my original Barbie Basics, which came on non-articulated bodies. As much as I love their original body molds, they just don’t work for photos, so I’ve taken some of my dolls that are more “character” based (like my Barbie movie ones) and swapped out their articulated bodies with the Basics from the early 00’s. I tend to use Barbies with less recognizable face molds in my photos, so the ones based on familiar characters don’t need to be as posable since they’re just going to stand on a shelf for the most part. Also, I have a few collector Barbies that come clothed in pieces that can’t be removed, so they don’t really need articulation, and I re-body those as well.

Once I got the setup going, it was quite fun to move all the dolls around into different positions (as you can see LOL) and the Basics clothes being so coordinated and interchangeable made changing up their outfits a breeze. So even though at first I was less than thrilled with this line, the kit concept changed my mind on them completely. I’ve since purchased one other, which leaves me three more to go – the only one I probably won’t get is the petite one from this release; I really dislike her outfit and I’m not thrilled with her face mold either.

She looks better in the out-of-box photos I’ve seen posted on Reddit and Amazon reviews, but I still think I’ll give her a pass to save some money. I don’t attempt to collect an entire set of any release as it’s too expensive, and there’s always at least one I don’t want. For my money, choosing to dress a petite doll in a maxi skirt was a big fail here, and even though I can use the maxi dress elsewhere, I still don’t like the doll enough to bother with it. The other three, though, I still want to acquire.

I just got this one in yesterday, and I have to say these curvy dolls are growing on me – especially now that more clothes fit them. I wasn’t super-impressed with her after seeing the stock photos, but real pictures of her face changed my mind. She’s really gorgeous.

This is a tall body, and her skin tone should match the three dolls from my kit, which makes her head easily swappable with the others. Yay!

I totally missed the last platinum-haired Barbie release; when I could have bought her for around $35, I kept passing on her, and now she costs around $150. So I bought this one from Amazon last night. Blonde Barbies are usually my last choice, but these platinum-haired ones are everything.

The one that got away

Last but not least, I took some individual shots of the dolls while working on this shoot, so you can see the face detail better.

This doll is from the original Basics line of the 2000s
This is not a Basics doll but is from the Barbie Looks series that was released in the fall of ’24

Also, how amazing do these kit dolls look bald?

That’s all for now – I’m sure there will be more doll shots in the near future. Also I am working on another found footage horror review, and have written a few poems I could upload as well. Lots going on!

Barbie Party

I’ve taken some better photos of my kit #3 dolls, as well as one I got at Goodwill for $2.50. Someone donated a huge stash of Barbies to the Goodwill near my house, and the haul I got from them is unreal. But more about that later. Let’s take a look at some better kit photos.

My only gripe with this set is the doll with the blue and black wig – something about her face just does not photograph well. Her face always comes out looking flat, for lack of a better word. I probably need to get some shots of her solo in different wigs and see if that makes a difference.

The curvy doll is the one who looks good in every single wig, and she even rocks a bald look like a boss. She also wears all the outfits best, as these fairly simple, stretchy pieces benefit from some added curves.

I mean, come on

As I mentioned in my last post, the tall model looks best in that Afro wig. I guess I should describe them by face mold instead of body type since they are all interchangeable, but I’m not familiar enough with the names of the different molds and am too lazy to look them up. Suffice it to say that the dolls in these configurations are my favorite, but I haven’t played around with them much to be certain.

Moving on to one of my Goodwill finds, it was windy yesterday, so I took this one out to see if I could get any decent shots of her hair and dress blowing in the wind. The results were mixed, but I had fun shooting them and felt like I came away from this set with a better understanding of how to shoot dolls and have fun while doing it. So I’m feeling a little more confident now.

I’m pretty sure this is a Barbie Extra doll; she came with different clothes on so I can’t be sure, but she looks closest to this one:

Bummed I didn’t get my hands on that purse

The dress she’s wearing in these shots is from a Liz Taylor doll I got for a steal on Amazon several months ago; since this is a curvy doll and Liz has a seriously snatched waist, I couldn’t close the dress in the back, and it gapped out a lot. But I used some body software I have to fix the rather shlumpy shape she had with the back unfastened.

Doll hair sure doesn’t move like wig or natural hair, and it’s surprising how much wind it takes to get it to move. I’m still working on that, as I certainly learned plenty of tricks to make my hair move around in portraits, but as of now I’m still learning how to get similar effects from doll hair. I have many shots of her falling over as the wind knocked her down for sure – not only was it windy, but I added a warehouse fan and pretty much had to blast it right up in her face as best I could. Even then, the dress moved a lot more than the hair did.

I got a lot of stray wispy hairs flying about rather than all of it moving at once, which makes things look a little messy. Also, I had the shutter speed way too slow in about half the pictures, so instead of capturing the hair’s movement, I ended up with a lot of hair blur. So as I said, still learning over here. Oh, and I remembered my old habit of wearing clothes in weird ways for added effect, and since I loved the two colors in the skirt of this gown, I took a lot with her wearing it upside down. This made up a bit for the lack of real movement in the hair. Remember my motto: when in doubt, strangely wear your clothes for more interesting shots.

Also, my tendency to over-process shots really has to be reigned in with these dolls. I guess because I am already dealing with a fake person, the photos can’t take a lot of fakery when it comes to editing. Most of these shots I over-processed the first time and had to start completely over. The only exception is the one above; it has that strange lens flare because there was a big pole in the shot that was distracting, so I found an effect to blur it out entirely. So heavy edits can still be used to fix errors or flaws, I guess, but what I’m learning is that when I’ve got an already great shot, I need to keep it simple instead of trying to make it, well, greater.

As I mentioned above, I came away from this shoot feeling more satsfied with the results and more energized than I have since switching to photographing dolls, and I even enjoyed shooting outside for once. So I’m hopeful I can move forward with more success and satisfaction. In fact, I took over 900 shots during this set, so you know I was feeling it.

Doll Drop: Barbie Basics “You Create” Kit #3

Mattel released three of these customization kits last month (March 2015), and although they didn’t do much for me at first glance, some YouTube videos and Reddit posts convinced me to give one a try.

Each kit comes with three different doll bodies – #3 has a petite, tall, and curvy – and three bald doll heads. Mattel has modified the neck peg to make the heads easier to remove and swap, and the individual Barbie Basics dolls they released earlier have the same neck peg as well as matching one of the three skin tones.

Individual dolls at $25 each

These kits are $100 each, which isn’t bad considering what comes with it. Customization has been a thing for years, so it makes sense Mattel would jump on the bandwagon. I started customizing last year, and have found skin tone matching to be the hardest part by a long shot. For the most part, I just try to get close, but others want that exact match which can be hard to find. So it is great to get three dolls with the same skin tone and a fourth doll you can add to the collection. I’d like to think this awareness would carry forward with other dolls, but I doubt Mattel is going to dedicate attention to perfect matches with $8 play line dolls – some of which have beautiful faces that people want to put on better doll bodies. Most likely they will keep the skin matching to the basics line and a few others like the Looks series, and I imagine they’ll limit the new neck peg to a few lines as well. We’ll see.

It comes with instructions!

Reception to these kits has been mixed; some doubted the price would be justified while others questioned if the quality would be satisfactory. Personally I’ve tried wigs I bought on Etsy with other dolls and haven’t been satisfied with the results, which is what initially turned me off of these; the last thing I needed was more Barbie wigs I would never use. But more about the wigs in a bit; suffice it to say I am thrilled with my kit.

I chose kit #3 because I thought it had the prettiest face molds. I also liked the clothing pieces of this kit best, although there are some pieces from other kits I would have loved to see in this one. I’m curious to see which kit sells the best.

Kit #1 – it’s fine, but I found the wigs a little boring and I haaaaate those transparent boots
Kit #2 – I freakin’ LOVE those creeper shoes and the wide-leg pants, but the faces didn’t do it for me. Maybe someone would want to swap?
Kit #3 – my choice

I feel like Mattel put a lot of thought into these kits, addressing more than skin tone matching problems. I love curvy doll bodies in general, but they don’t have anywhere near the clothing options of the other dolls, so the kits and the individual Basics dolls utilize material that can fit any body type, including curvy ones, which is really useful. And the new neck peg really does mean you can remove and switch a doll head without having to apply heat, although you do still have to push them on and pull them off a bit which made me nervous at first. I can’t tell you how many doll heads and bodies I’ve ruined by breaking the next pegs, and I was scared of doing it again, but so far so good. Rest assured if anything broke while I was head swapping Mattel would have had a return on their hands.

The box is sturdy and worth keeping, even for people like me who do not keep their dolls in the boxes. The containers holding the dolls are plastic and can be repurposed. The containers holding the clothing and accessories are cardboard, but sturdy, and can probably also be repurposed. I’m not gonna lie; I never keep my authenticity certificates, but I will keep the instruction page because it’s kind of cool.

I don’t know if this was another example of Mattel paying attention to complaints or not, but either way, take note that these dolls are only affixed to the box at TWO PLACES, and by loops instead of punch tags. And, no punch tags in the back of the dolls’ heads – just a wee plastic cup holding them in place so you can pop the heads out easily. So yes, it can be said that these dolls were easy to remove from the packaging, saving us all countless hours of frustration.

Each body has a suggested head paired with it, so I started out following Mattel’s lead but didn’t stick with that very long. More on that in a bit.

Each of the little compartments held nicely wrapped items, which is always a fun touch, and the wigs came wrapped in little hairnets. The clothing pieces are all made of a nice, stretchy material that feels substantial instead of flimsy, unlike a lot of Barbie clothes. The shoes are nicely detailed; this kit included a pointed toe flat with ankle straps as well as a slouchy boot, and the flats have a little painted gold heel. I love a good flat, but in Barbie world they’re pretty rare, so I’m always going to snatch them up when I find them. Each kit also has one transparent pair of shoes (hence those hideous boots in kit #1) and I almost like the ones in my kit, except the heels do that thing where they immediately fold inward which looks incredibly weird. The accessories are shiny instead of the dull plastic Mattel usually uses, but there’s not much to choose from here. One pair of earrings, one necklace, and one pair of sunglasses for three dolls total just doesn’t add up, so Mattel, do better in this area next time around. For $100 I think each doll could have had their own earrings and necklace at least.

The faces in this kit are just gorgeous. I particularly love that middle mold – it’s androgynous, leaning towards masculine, and I am here for it – but there’s no way that head belongs on a petite body. I’ll be fixing that shortly. We also get a side glance with blue eyeliner, and a gorgeous neutral palette. (I know the skin tones look different in the head photo but that’s just the limits of my phone camera.) I do think they could have sprung for real eyelashes, but Mattel isn’t listening to me about such things, so we get lashes that are painted on instead. Oh well.

The bodies feel solid and I detected no loose joints with these-something that will probably change with time, but whatever. They aren’t perfect – there’s a little chip on one foot, for example, and if I really scrutinized them I could possibly find other flaws, but I am not particular about things like that so I didn’t bother. If you are one to be annoyed by flaws though, my guess is you will find some as these are still mass-produced dolls. But there were no big issues to report.

For my first assembly I went with the head and body combinations that were laid out in the containers. The clothing I just played around with until I was satisfied, but the wigs were more of an issue. For whatever reason, the Afro wig would not stay on any of the doll heads. There is a little silicone cap sewn into each wig that is impressive overall; whereas any other doll wig I’ve tried sat waaaaay up on Barbie’s head making it look almost like a hairy hat, these wigs sit close to the head and look pretty great. Wig hair won’t flow like rooted hair does, so especially with the long straight wig the hair falls a bit stiffly and flips out at the end, but I don’t think there’s any way to fix that. The hair does feel nice and full and the hairlines are not problematic at all. A little piece of double stick tape seems to keep the Afro wig from falling off, so I’m ok with it. The other two fit fine and stay put.

My main issue with the “assigned” heads is the androgynous one – that mug does not belong on a petite body. I wanted her to be on the tall doll, with the Afro wig, to give her as much height as possible. Other than that, I was neutral about which head went on which body; the heads look fine on either one. I probably should have put the blue wig on the head with the blue eyeliner, but I like the shorter style on the curvy mama. It works with the pleather jacket too. I tilted the straight wigs to the side a bit as I didn’t care for the middle part; sure, it makes one side a little longer than the other, but you can’t really tell.

As much as I like those sunglasses, I’m torn about using them. I prefer it when sunglasses are transparent so you can see a doll’s eyes; when they’re totally concealed the doll loses a lot of its appeal. I’ll probably use them on an older doll with a boring mug.

For the hell of it, I used one of the skirts as a top, just to see how interchangeable the items really were. The tall doll body is wearing the miniskirt with the flowy side train as a top. It looks pretty good that way actually, and it’s nice to have that as an option. The pointy skirt is a bit weird and probably my least favorite piece. I’m not sure it’s something anyone would really wear, but I get it – coming up with 900 unique black basics pieces for all these kits must have been a challenge, so you’re gonna get a few clunkers. It’s not bad; I just can’t help thinking it needs bells sewn onto each tip and a jester’s hat.

Overall I am really happy with this kit. As far as I’m concerned it kept its promises – the heads are much easier to take off and put on, the skin tones all match, and the wigs look great. I also like that there’s another individual doll I can buy with the same neck peg and skin tone for more customization options. The bodies are sturdy and the clothing seems to be well-made. And the presentation is nice – it was fun to open the box up and see what was in each section. Personally I think it was worth the $100 plus shipping, and I hope Mattel makes more of these kits in the future. I also loved the original Basics line and am happy to see all these LBDs back in production. So two big plastic Barbie thumbs up from me on this kit!

Poetry Break: Small Talk Sestina

A friend of mine recently introduced me to Rattlesnake Prompts, so here is a sestina for the “small talk” prompt.

A sestina is a six stanza poem of six lines each, with a three-line envoi at the end. Instead of a set end rhyme, the sestina has a set pattern of end words that proceeds as follows:

 1 2 3 4 5 6
 6 1 5 2 4 3
 3 6 4 1 2 5
5 3 2 6 1 4
4 5 1 3 6 2
2 4 6 5 3 1
(6 2) (1 4) (5 3)

Here’s my sestina about small talk.

Flower Shop – Small Talk Sestina

He works as a florist. He is middle-aged. He is losing his hair.
He is hiding behind the counter. He is looking at a woman.
Her hair is haloed with rain. It loosens in wisps from a clasp
at her neck. The fastener shaped like a dragonfly.
She sees him. He is unfamiliar. He does not know
what to say. He lowers his eyes. Thinks I don’t want

anything. She says you were staring. What did you want?
He raises his gaze. I am sorry. I am simple. I am losing my hair.
You are more beautiful than flowers. But no, I do not know
you. He is thinking of what to say to this woman,
alone in the flower shop. He says where did you get it, the dragonfly?
Is it something precious, something you love? She touches the clasp

lightly, her fingers the kiss of butterflies. He hears the desperate clasp
of his words. He lowers his eyes. He should not have asked. He does not want
anything. In spite of his fascination with the dragonfly
settled at the nape of her neck, nesting the hair
beneath. He says, it makes me think of a woman
alone in a garden. A man is watching. He wants to know

why she is there. The man is awkward, he is often alone. He thinks she knows
this. Knows he wants to gather her hair and clasp
it with butterflies. He stares at her as the woman
approaches the counter. She says you can’t spend your whole life wanting
and never ask. She flutters her fingers through wisps of hair
that flick her face, then reaches back and snaps the dragonfly

away. The man says, bring it back, I want to see the dragonfly.
I want you to give it to me. Her hair tangles free. She says you do not know
me. She sees a man. Thinks he is awkward, and often alone. He is losing his hair.
She says I am sorry. I do not know you. Flutters her fingers, unlatches the clasp.
Says I don’t need anything. My life is simple. I have nothing to prove. But I want
to show you the rhinestones, green for the wings, and blue for the eyes. She is a woman

more beautiful than flowers. Her blue eyes like rhinestones. She thinks I am a woman
who is always exposed. Who always knows what to say. She says it is only a dragonfly.
You have given it too much importance. She steels his gaze. Says, I want
to show you. Opens her hand to reveal the glittering insect. He knows
it means something to her, the way she gently releases the clasp
and tips it over, onto the counter. Then she leaves, no restraint in her hair.

That night he dreams of a woman, a woman who knows
what she loves. She stands alone in a garden, dragonfly clasped
like want in her hand. She gathers her hair and leans over. The sky is heavy with rain.

Cynthia Cox
Nacogdoches, TX
3/22/24

Found Footage Fave: Hell House, LLC Origins: The Carmichael Manor

Reason for filming: A true crime enthusiast has booked a stay at a supposedly haunted mansion and wants to document it for her followers

Director/Writer: Steven Cognetti

What’s the horror: Supernatural, and also bad 80s fashions

Does the dog die? No animal cruelty. One character shrieks like an insane monkey, though.

Gore factor: A few quick shots of murdered people and icky undead people, but not much else

Re-watch scale: Pretty heavy rotation; this one stays fun for me even after multiple viewings

SPOILERS! SPOILERS! SPOILERS! Don’t scroll if you don’t want to know.

When I wrote my original review of Hell House, LLC, I stated that the two sequels to that film were not to my liking and that I wouldn’t be reviewing them. But lo and behold, the creators came out with another sequel last year, and it’s quite good. It doesn’t make a whole lot of sense and attempts to tie it to the original film weigh it down at times, but the franchise has found a new set piece that is pretty great, and they filled it with their standard slow-burn scares and some mostly likable characters.

I say mostly because unfortunately, the lead character, Margot, is pretty annoying. I think the actress is quite good, but unfortunately, she’s given the thankless found footage role of “person who refuses to leave, even as the events around her become more threatening and dangerous.” And it’s not just that – her over-the-top glee and constant asides to the camera feel more performative than genuine, and she has no respect for the boundaries of people around her. Realistically, it’s her girlfriend Rebecca who should get priority over what they do with their time since she’s the one who has an actual, paying job, but for some reason, she continues to indulge Margot in her investigations, even at the expense of her own employment. It appears Margot just runs around conducting investigations for a true crime blog and doesn’t do much else.

We get some early hints that there’s a reason Margot is so excited to go to this location, but the reveal of said reason is anticlimactic, and it seems more likely that Margot is using that event from her past to manipulate everyone into sticking it out. More on that later.

Rebecca and Margot engaging in some fine dining

But first, we need to hear from our new talking heads, Bradley Moynahan and Alicia Cavalini, as we are once again using the mockumentary approach. I mean, if it ain’t broke, don’t fix it, and while these talking heads lack the awesomeness of the handlebar mustache guy from the original, they fulfill their duties fine. Alicia is a true crime writer while Bradley is the co-founder of Margot’s true crime website, Net Sleuths. We cut between these two interviews to explain the backstory of the Carmicheal Manor, as the house is known. It’s big, it’s very remote, and one October morning police came to the house to find the mother and daughter slaughtered horrifically in their beds, while the father and son have disappeared and been missing for 30 years. Alice tells us the early suspicion is on the father because there is only one set of footprints in the snow leaving the house. Maybe that’s because Jesus was carrying him at that point? No one suspects Patrick because he’d broken an arm in a car accident and wouldn’t have been able to kill as easily as Dad.

Meet Alicia. No mustache game, sadly.

It’s at this point that the movie shows us a hilarious picture of Patrick, lying down on a twin bed with his arm in a sling and looking forlornly out the window, and every time I see it I want to ask: who the hell took this picture? Did they try several times to get him to say cheese and he refused, so they took this shot as revenge or something? Because it is not a photo anyone would take much less print out, but whatever. The point is Patrick had a broken arm and isn’t considered a suspect in the murders as a result. I wish I could screencap this for you, but Shudder won’t let me and I couldn’t find one through a Google search, but AI thinks it looked something like this, which it most certainly did not:

We cut to some previews of the scary shit that’s about to happen, hear a lot of screams and a garbled 911 call, fade to black, and here we go. Cut to Rebecca driving and complaining about being hungry. They stop and eat somewhere while asking the cashier what he knows about Carmicheal Manor. He appears surprised that they are going to be staying there for five days. Margo is super-proud of this; clearly, she feels like she’s pulled off a major coup by wrangling this arrangement out of the property manager. They drive around lost for a while to establish just how REMOTE this place is and how great its internet is despite being so REMOTE, something the property manager will blow out of the water a few minutes later when he mentions being located only fifteen minutes away, but I digress. When the find the house, Rebecca inexplicably asks Margot: “What, do we just knock?” No, Rebecca, climb up onto the roof and shimmy down through the chimney. Don’t forget to bring gifts!

Margot’s smirk – it’s annoying
The actress who plays Margot (Bridget Rose Perrotta) – perfectly lovely and not at all annoying

Turns out they don’t need to knock because the front door is wide open. Rebecca’s filming now because Margot wants to do the talking, and I guess she can’t do both at the same time. I kinda wish she could though, because she keeps turning around and giving Rebecca this annoying, muggy smirk while the estate manager talks, and I have no idea why she keeps doing this. I think she just can’t stand not looking at the camera for more than fifteen seconds. Rebecca zooms in on a family portrait of the Carmichaels, and I must admit they got the 80’s look down right. Much better than movies usually do, in fact. Not everyone wore neon bike shorts and fingerless gloves, people. Most of us had frizzy hair and wore makeup that made us look a good 15 years older, and the most unflattering dresses and pants AI could dream up. Seriously, we all dressed like bad Saturday Night Live characters. Moving on.

Apologies for the subtitles this is the only image I could find

The estate manager garbles out that the estate owners both do and do not let people stay there in the same breath. OK, dude. He mentions that most people who do stay there never make it more than a few days, but he’s already said the owners don’t want anyone staying for more than a few days. Who knows. They walk around and look at the rooms. At one point Rebecca, goddess bless her, asks what a button does that’s on the wall, even though it’s clear it’s attached to a speaker that someone might use to communicate with other parts of the house. Did Rebecca hit her head on the way over? Anyway, she zooms in on the button so we all know that it’s going to mysteriously go off later.

They walk into the youngest daughter’s room, Catherine, and again I say this movie gets the 80s right. So much wallpaper. And curtains. And a full-sized bed that I hope is not the exact one she was slaughtered in, even if it is in the exact same place. We see a photo of Catherine – barrettes and acid-washed denim shortalls. Heh. Then the dude, whose name is Donald, exposits that Catherine wanted to be a moviemaker and was always filming around the house. That will be convenient later.

So. Much. Wallpaper. Also, hi Don.

They visit the master bedroom, and Margot asks Donald if he thinks the father was the murderer. She asks this as if it’s an engaging and totally appropriate thing to ask, while Don’s non-response indicates otherwise. The tour continues, with Donnie pointing out a locked room he doesn’t have a key for. That might be important later. Then he takes them into Patrick’s room, where he ruminates on how sad it is that Patrick’s dead body was never found. If this is the tour Donald gives everyone who comes to the house for a visit, I can understand why no one stays very long. Maybe you could just point out the amenities and leave the bloody murders to the internet, Don? It might help. Although it’s so REMOTE maybe the murders are the only reason anyone visits.

Damn, this movie is getting into it fast. Rebecca, still filming, is marching up the stairs looking for Margo. She finds her standing in a hallway staring into the formerly I-don’t-have-a-key-for-it locked storage room. The door is now open. It’s at this point I notice that Margot is tall, y’all. The room she’s staring into is full of what looks like carnival gear. Signs, toys, and clowns. So many clowns. Including two life-sized clown statues that are not the evil clown from the original, but are still horrifying (albeit not as horrifying as the original because nothing is as horrifying as that one). One of the two looks so incredibly real I fully expected it to turn its head or blink and give chase, but before it can do that a voice calls out from below. It’s Margot’s brother, Chase, who is there to help with filming.

Rebecca is not happy about this, saying that Chase is “a liability,” but he never does anything to indicate that throughout the film, so whatever. Kind of like with Margot’s backstory, he has one but it’s not particularly compelling. Margot, however, is thrilled to see him. I get the feeling they haven’t seen each other in a while, and Margo immediately begins peppering him with questions. He mentions that he is seeing someone, and Margot practically explodes. I have to admit she’s kind of cute here; for once her inquisitiveness is endearing and not annoying. “Who is she? Is she beautiful? Is she smart? Are you getting married tomorrow? What’s her name?” Maybe it’s the woman Chase hooked up with in that one Lifetime Christmas movie I saw him in? Moving on.

The talking heads cut in to share Margot’s back story. When she was 10 she and Chase were taken to a County Fair, and some strange man tried to lure her into the woods. She ran away but was not able to identify the man to her parents or the police. Later, several other girls went missing from the fair, assumedly taken by the same man. So the thinking now is that Margot was obsessed with solving crimes to make up for her failure to prevent the strange man from hurting others. I guess as a backstory it’s okay, but it’s nothing special for a horror movie.

Chase says he’s not much of a sloth instead of sleuth, and I mean, really? He’s a grown man and he’s unfamiliar with that word? Maybe Rebecca is right about him. We do get his backstory, which is that recently he went missing for two days and no one knew where he was. Margo asked him to come help her with the investigation to help him, somehow, I guess by keeping an eye on him or giving him something to do. Again, I can go with this, but it’s pretty weak. He’s clearly a grown man; why would anyone be concerned if he checked out for two days? Moving on.

He’s good at drinking, so there’s that

The next morning Rebecca films herself changing the sheets on the bed to give us our first scare. She narrates as she makes the bed about how Margot told her to film everything, and then she swings the camera around to face her so she can get herself and the freshly made bed in the shot. Only now Catherine is on the bed, looking quite murdered indeed. It’s a fun, gory shock; just the sort that this franchise does so well. Some creepy strings slip in, which isn’t supposed to happen in found footage, but that’s not something that’s ever bothered me. Slowly Catherine’s head turns to look at Rebecca, which must be a challenge with only one eye.

Off they go to an antique store that is supposed to have a lot of items from the Abaddon Hotel. Maybe the original clown will be there? It’s not, but an old grandfather clock is. Rebecca is familiar with this make of clock, and she knows there’s a secret storage compartment on the side of it. Why is Rebecca better at this than Margot? Anyway, she gets the compartment open and pulls out an old necklace, a can of old film, and some letters. Margot immediately sticks it all in her purse while Rebecca objects – I’m not sure which side I’m on here. The clock belongs to the store, but they have no idea anything’s there, soooo. Yeah, I’d probably swipe that stuff too.

Meanwhile, Chase is at home mugging for the camera, pretending to be a ghost and a true crime detective to mess with his sister. He’s actually funny here, so it works. Of course, he hears a noise and goes to investigate. He walks into the hall and sees a shadow crossing the storage room, but when he enters nothing has changed. And of course, the power is out, so it’s a bit dark even though it’s the middle of the day. We clearly hear a giggle, and Chase swings the camera around. Something is extending out from a doorway at the end of the hall. I swear the first time I watched this I thought it was a nose until it slowly pulled itself back finger by finger and I realized it was a hand. Then a girl in a mask peeps around the corner and stands there for a minute before slowly backing away. Chase, thank God, does not do that thing where he walks ever so slowly up to the doorway, but charges at it full speed instead. Points for Chase. As expected, there’s no one there, and then we hear Margot and Rebecca arrive.

Cognetti really knows how to pace a story. His stories are slow burns with nothing major in the way of scares, but there’s no denying how well he builds tension. The little music stings also help. And once again he has a character do the logical thing and show Rebecca and Margot what he filmed. Rebecca is freaked. Cut to the talking heads who tell us how what they found inside the clock was a “game changer” and that it’s wild it was sitting inside this old clock throughout the other three movies and no one ever found it. Everyone expected it to be footage of the hotel, but it’s footage shot by Catherine at Carmichael Manor. She wanted to be a filmmaker, remember *wink*?

As in all found footage movies that involve a character who wants to be a filmmaker, Catherine does not film anything that an audience would want to see, which is convenient since all we want to see is evidence of what happened at the house. But still, points off for Catherine, as it does not appear her death is any big loss to the filmmaking industry. We see what is clearly Catherine walking down the stairs, calling for Margaret and Patrick, her brother and sister. Thanks, movie, for naming one character Margo and another one Margaret. Points off, Cognetti. Anyway, we see the exact same gag the ghost pulled on Chase: a girl in a mask peeking around the corner. Catherine yelps and turns around and Patrick is there, laughing. Patrick is creepy, y’all. Margaret is wearing a godawful Laura Ashley dress that I’m pretty sure I owned back in the day. She announces that she’s off to rehearsal for Faust, which she is performing in soon. This is the only belief I am not willing to suspend here – the idea that two acting companies would put on the same dog of a play in thirty years is completely unrealistic, but whatever. We all know she’s never gonna make it to that stage as a drunk driver is about to kill her.

It’s nighttime and the gang is going over the items they swiped from the antique store. Meanwhile, the antique store in town goes broke and has to close, but hey, at least they’re still alive! I cannot tell a lie here; some of the clues these people dig up are really cringe-y. Anyway, they read some letters about death and bleeding from the eyes, and then the lights go out. They try to find the fusebox but the closet it’s in is locked. The power comes back on, which is good, but now there’s a red ball in the middle of the floor. Or maybe it’s a clown nose? That would make more sense given the context. Chase is concerned. He’s so concerned he asks to speak with Rebecca the next morning, but not before cringing me out again by mentioning how the sheets smell like an old sweater. This is not a callback to the first movie that anyone needed, but there it is. Anyway. He quite nobly tells Rebecca that if she gets scared and wants to leave, he will support her. Heh.

Margot has theories, y’all

Rebecca has a Zoom call with a really bad actress. She’s showing her pictures of houses they can buy and flip, I guess, so this must be her boss. I’ll skip my rant about house flippers. After showing her a few slides, pictures of Carmichael Manor start showing up. The pictures start on the first floor and progress up the stairs until they’re right outside Rebecca’s room. In fact, we can see Rebecca in the photo, her back to us. The boss is understandably confused. And somewhat impatient, as Rebecca has stopped responding to her repeated questions about what’s going on. Rebecca keeps staring at the screen and clicking. Clicik! And there’s someone in the photo standing next to her. Click! Whoever is standing next to her has turned to face her. Click! And now we’re seeing Rebecca’s face, close up to the screen, with a very dead Catherine screaming into her ear. Heh. It’s a good one.

Rebecca’s computer shuts down without any explanation given to bad-actress-boss, and she’s concerned that she’s just lost her job. She’s way more concerned about the freaky dead girl getting up in her face, though, because she’s packing to leave as she rants about how she’s getting tired of being the one who supports Margot through all these investigations but can’t get Margot to support her need to get the fuck out of this house ASAP. Margo basically just wants to see if the footage of this event was recorded on Rebecca’s computer so she can see it, so to say she’s not listening to Rebecca at all is an understatement. But, of course, Rebecca capitulates for some reason and agrees to stay another night. We do get a gorgeous sunset shot of Rebecca sitting on the front porch talking to Chase, and it doesn’t help infuse the setting with dread but it is lovely. I wonder if this place still takes reservations?

I made the same face, lady, but not for the same reason

Cut to Margot finding a Polaroid photo in the pile of stuff she stole from the antique clock; it’s the same two clown outfits that are on the mannequins upstairs, except that it’s three mannequins upstairs according to Rebecca, which of course it can’t be, so up the stairs they all go to see who’s right. Except they don’t, because Margot runs right over her comments with her excitement about finding a connection between the mansion and the Abbadon. But hey, kudos to the movie for using a Polaroid photo within the actual time period that they were popular.

Margot’s enthusiasm is interrupted when that intercom Rebecca showed us earlier goes off, because of course it does. There are certain sounds that will forever freak me out, and loud doorbells and door knocks are high up on that list. OK, so this one is an intercom buzzer but the effect is the same. Chase checks the call center in the kitchen and reports back that the call is coming from Patrick’s room because of course it is. (Insert your “the call is coming from inside the house” joke here.) Margot has the stones to head right up to the room, so at least she’s willing to take the risks and tell Rebecca to stay behind, I guess. She and Chase creep into Patrick’s room and wouldn’t you know it, one of the two (or three) mannequins is in the middle of the room. These things look so damn real, y’all. Every time they do that approach-it-slowly-and-thonk-it-on-the-head-to-prove-it’s-fake thing I expect it to move even though I know it won’t. It’s wildly unsettling.

Meanwhile, downstairs Rebecca hears a creaky door opening in the foyer. Man, Cognetti is so good with the eerie sounds. I mean, that has got to be one of the most trite scary sounds in the world but it really works. Also effective is Rebecca’s fear here. Girl is freaking out. A red ball rolls out of the closet and yeah, it’s a ball not a nose, which I feel is a missed opportunity. Imagine a red clown nose bouncing down the stairs and squeaking with every step. Actually no, don’t imagine that because it’s hilarious and not scary at all. Let’s stick with the ball. Rebecca slinks her way into the closet and sure enough, there’s a damn clown in there now too. Rebecca and Chase are fucking sick of these clowns, y’all, and they are ready to bail. However, we cut to a scene taking place sometime later when Chase and Margot are hanging out in his room talking about what happened to him that time he ‘disappeared’ for two days as a fully grown man who absolutely can go off the grid for two days without being considered missing, but whatever. So I guess they’re not leaving.

Chase’s backstory is also weak, but here it is: he saw a girl. Where? When? Who knows. He just…saw a girl once. Okay. A little girl who was lost. So Chase wanted to help her, but she wasn’t real. She kept disappearing and reappearing all day long at whatever place Chase was when this happened. Or is he talking about something that happened to him at that same fair Margot was referencing earlier? I have no clue. Margot does say it’s OK that he saw a disappearing girl because that proves he needs to stay on his medication, so that at least partially explains why she was so freaked out when he disappeared; she assumed he was off of his meds and having a breakdown. But he insists he was taking his meds at the time, and the last thing the disappearing girl said to him was “Go with Margot,” and then Margot called him the next day about coming with her to Carmichael Manor. So okay, this is a recent thing and not something from far in the past. He says he didn’t put the two together until just that moment, which is more points off for Chase, because when a disappearing girl tells you to go with someone who then calls you out of the blue within 24 hours you should be able to make that connection immediately. Anyway, this story ends with Chase asking Margot if they can leave and she says yes, they will leave…tomorrow. Wrong damn answer, Margot. Chase does not stand up and smack any sense into her though, so another night it is.

It kinda looks like a dead body is under those covers, Chase

Somehow they make it through the night, but the next morning Chase’s stuff is just plopped in front of Margot’s door with no explanation. They find his phone and his medication in his room, but no Chase. Apparently, he texted Margot the night before asking “Was that you?” but Margot didn’t respond because Rebecca was sleeping. SERIOUSLY, Margot? How loud do you text, exactly? Your already troubled brother texts you in the middle of the night while staying in a clearly haunted house and you don’t respond? What is wrong with this woman? All the points off, Margot. All the points.

One of the talking heads, Bradley, cuts in with some candids of Chase while telling us that he’s seen Chase’s last video. Remember the talking heads? Because I’d forgotten all about them. Cut to – no surprise here – Chase’s last video. It’s nice of Bradley to share it. Chase is drinking in his room and it appears to be some time after Margot left since he’s at least half-drunk now. I’m not sure he should be drinking with his medication, but given the circumstances, I can’t judge. There’s a knock at the door, and yep – I still hate that sound.

Chase opens the door and there’s no one there. He texts Margot, and we all know how that goes down. Good job, Margot. Cut to Chase in bed, whispering into the camera that someone is still knocking on his door but no one is ever there. They knock again. Still no one there. Inexplicably, Chase tells Margot via the camera that they are leaving in the morning no matter what, instead of packing his shit and leaving immediately. Why? He didn’t ride with Margot and Rebecca; he showed up later on his own, so he must have his own car here. Just leave, dude! He does not. Cut to him waking up in the dark and whispering that his door just opened on its own. Chase looks kinda hot when he’s lying in bed, not gonna lie. I’d Lifetime movie him, is what I’m saying. Anyway, he pulls a Paul from the first movie and turns on the light only to immediately freak out at what he sees – yep, it’s the OG black and silver clown from the original. OGC is facing the wall, but there’s no denying it’s him. The camera cuts away, and when it cuts back – you guessed it – OGC is facing him. He’s still scary as fuck, although I must admit he mixes polka dots and stripes well, which is a tough look to pull off. Points, OGC, for clowning in style.

Chase’s last call

I love Chase’s attempts to bargain OGC down from definitely killing him to just forcing him to leave the house; it’s not something we’ve seen anyone try before, but since it doesn’t work I guess we know why. “I’m just gonna leave now, my bad” doesn’t translate to clown, apparently, because as Chase tries to slip away OGC pulls a new move and starts following him. Damn, he walks now? Y’all really are screwed. Chase offers all the apologies, but nothing’s gonna slow that clown down now, and with a yelp Chase’s camera cuts out. So long Chase, we barely knew ya.

Time for a change of pace as we’re now watching Catherine’s footage pre-murder. The first thing we see is Patrick looking forlornly out the window of his bedroom. I think we now know who took that insane picture of him we saw when our talking heads were expositing. Patrick rightly tells her to stop filming his misery, but not before Catherine discovers Margaret’s bloody dress sitting on his dresser. I hate to say this, I really do – but there’s something about Patrick and Margaret. Imagine the world’s worst Lifetime romance and you’ve got the jist. Something ain’t right between those two, or wasn’t right, rather. Patrick babbles about bringing her back, and Catherine gives him the necklace Margot finds in the old Abaddon clock. Then we cut to a shot of Patrick pacing around in the front yard. Damn, Catherine has no boundaries at all – leave the guy alone, girl. Then cut to Catherine in Patrick’s room, opening the same chest that Margo found in the storage room. We can clearly see the three clowns in a mirror while she digs through it. Then we cut to the cringiest scene ever – Catherine found a sheet of music in Patrick’s clown trunk, and yeah, it’s OG Paul’s old spooky ditty, but with lyrics this time. It’s another callback that feels unnecessary to me, and ridiculously silly, especially with lyrics such as:

“Something’s coming/Cold the nightfall/All things die/And never come back/Throw the ashes/Grasp your crosses/Pray to him/You’ll never come back/Life’s a circle/Full of darkness/Stay with him/And never come back”

Look, I’m not expecting lyrical genius or anything, but could they seriously not find another word to rhyme with “back”? My middle school students wrote better poetry than this mess. Moving on.

Oh look, Rebecca wants to leave, and Margot insists on staying. This is certainly a new dynamic I’ve not seen before aside from in every other scene. Margot has the disappearance of Chase in her favor now, though, and Rebecca can’t argue with staying around in the hopes he will show up. Once again I think Margot is being manipulative; sure, she loves her brother, but if there’s one thing she loves more than any human being in her life it’s freaky clowns, and so they stay. I get that Margot has guilt over the deaths of those little girls she couldn’t help back in the day, but in her obsession with righting that wrong, she’s doing serious harm to the people who know and love her in the present moment. Get it together, Mags. Seriously.

Fortunately, we’re back to present-day footage. I say ‘fortunately,’ because I’m not a fan of most of the old footage shown in this movie. I get why it’s there, but it feels terribly forced and not all that interesting, considering we don’t know fuck-all about these characters aside from how they died, and they aren’t interesting enough to warrant learning more. Besides, I was a teen in the 80s and I know there’s no way Catherine could have been running around that house and hiding under beds with the size camcorders were back then. They were huge – and heavy. She might as well have been running around the house with another house on her shoulder.

It’s talking head time, as Brandon and Alicia fill us in on some of Andrew Tully’s backstory. I don’t care about any of it, so let’s cut to the chase (not to the Chase, of course, because he is no more). Tully met these two traveling carnies who ran a “Down a Clown” booth and the three of them moved to Rockland County to run the Abaddon Hotel and start a cult. They hired locals to work at the hotel and I guess draw them into the cult, and one of the locals they hired was Patrick. Got that? Moving on.

FINALLY, Rebecca convinces Margot that it’s time to leave, but now the car won’t start. My first thought was they should try Chase’s car, but apparently, he either walked there or teleported because there’s no other car in the driveway. Whatever movie. Rebecca loses it completely at this point, which prompts Margot to finally take the house’s threats seriously and insist they start walking rather than continuing to try and fix the car. For some reason, they do not take the road that they clearly drove on which led right to the house, but take off through the forest. Whatever movie. And isn’t Donald just fifteen minutes away? I mean that’s by car, yeah, but it at least indicates that help isn’t that far off. But no, off into the forest we go.

Seriously what is that thing

They pass by piles of old drums and the occasional rusty car, which isn’t unusual when one owns acres of land, because everyone’s crap has gotta go somewhere and where else is it gonna go. Maybe to Donald’s? He’s close after all. The piles of trash get weirder as they go, though; crosses with weird shit on them, an old hearse, an old RV, et cetera. Then something screams. Soon, in the distance, they see a hooded figure. Ah yes, the robed figures. We’ve seen them before. They start to run, and when the camera turns around, there are now three robed figures. They run faster. The eerie screams in the forest continue.

By the time they get back to the house, it’s almost dark. They hide out in Catherine’s bedroom and fight some more. Margot tries to apologize, but honestly, repairing your relationship at this point is unnecessary, Marge. Chase texts them. Margot texts back this time – good job Margot! – but it’s pretty obviously not Chase who is sending them messages. Margot hopes against hope that it really is him which is definitely the wrong move. The texts tell them that “Chase” is going to come to their room and soon there’s a knock at the door. Margot appears to be ready to open the door, very much against Rebecca’s wishes, but then the door bursts open on its own. Nothing is there, because of course, and Margot insists on walking out into the hall to see what’s up because honestly, at this point, why not. Man, Cognetti really knows how to work an old house; how many times have we seen the knocking on the door when no one is on the other side thing, but he still makes it work every time.

Chase texts again, telling them “They’re in your room now.” Rebecca finally drops the camera and takes off. Margot picks it up and chases after her. Rebecca charges down the stairs and out the front door. She’s decided to give the car another try, and as soon as she and Margot climb inside, we’re back to watching old footage of Catherine again, which is a pace-killer at first because we’re just watching stupid Patrick act like a freak some more, but then we hear a female giggle and dead Margaret appears in the hallway, and I have to admit it’s a pretty good scare. She’s wearing that Faust mask and her bloody dress, and the camera freezes on her standing in the hallway with her head tilted at a freaky angle. Then it’s talking head time as Alicia relays the events that led up to a mass suicide at the Abaddon. Then it’s back to Catherine, hiding out behind her bed and apparently filming herself, which led me to wonder where the parents have been throughout this whole thing. We know it’s the mother and Catherine who get murdered in their beds, while the father disappears as does Patrick, but in all the old footage it appears to just be Catherine in the house with Patrick. You’d think they would all huddle together while the madness happens, or that maybe Mom and Dad would be trying to protect her, but they are distinctly AWOL. I’m going to assume they’ve already been murdered and that Catherine has some weird sort of amnesia that has made her forget she has parents. Let’s move on.

Margo finally regretting her actions

Catherine sees a hooded figure run past the hallway and her resultant shrieking sounds exactly like an overexcited monkey. I don’t mean to judge the noises one makes as they’re being scared out of their wits, but I said what I said. Into the closet Catherine goes. Margaret’s voice whispers her name, and as Catherine opens the closet door we see Margaret’s dead body in the strip of light, which is effective as hell, and to make matters even more effective the Faust mask finally falls off and we see zombie Margaret’s face, looking a lot like the zombie girl who attacks Paul back in the original. She attacks Catherine. More monkey shrieks as the footage cuts out.

There’s not much left at this point but for Rebecca and Margot to try and start the car again and as the alarm blares see two hooded figures standing right in front of them. I’m not sure if a car alarm going off means a car is going to drive, but I’ll assume it does not because instead of running the fuck over them they run back into the house. There’s more forest shrieking – which does not sound like an agitated monkey by the way – and as they reach the house a bunch of red balls come bouncing out of a closet, which we barely see as they run up the stairs, and the movie is, well, balls out at this point. The tension Cognetti’s been skillfully building throughout the film has finally exploded, and when Margot hears Chase shouting for her in the hallway, she rushes out without thinking. At that moment Rebecca gets cell service, and we hear the 911 call we heard at the beginning of the film. Margot’s gone, and in one of Rebecca’s mad camera turns around the room Catherine pops into frame, looking good and murdered, and it’s time to bid Rebecca adieu, folks.

Bye, girl

Now we’re down to Margot, because of course it isn’t Chase calling for her from his room. He’s there, all right, but his eyes have been gauged out and he is very much unalive, which Margot refers to as Chase “being hurt.” Way to downplay, Margot. She runs back to Rebecca’s room only to find the door locked because of course it is. Then Margot wheels around and sure enough, there’s the OG clown at the foot of the stairs. Well that’s unfortunate. Margot takes off to the other end of the hallway but now someone’s room – I’m guessing Patrick’s? – is glowing red, and OGC is hot on her heels at the other end of the hall. Margot hits a dead end – pun intended – and we see OGC walking towards her. At the last minute, Margot flips the camera around to look into it and say “It’s not over,” and then a big fat white clown hand covers her face and it’s, well, over.

Except it’s not, because Brandon has to cut back in and say some stuff about evil never dying, and then we see a photo of a little Margot standing in front of the Down-a-Clown stand, and as the camera pans over to show OGC standing in the booth the music gets super-dramatic, which means I guess that this is something we were not expected to have put together yet, except everyone has, and then there’s yet another cut, which shows Patrick lying face down somewhere, crying and saying he had no choice but to do what he did. Then we hear some muffled screaming that sounds like it’s probably the father, and Patrick yells at whoever it is to shut up and kills him, I think, because the screaming stops, and then Patrick walks into the frame wearing the OGC suit. He puts on the clown mask and walks off into a glowing red hallway, and I definitely did not put this part together so good job movie. Whiny wee Patrick is the black and silver horror clown? Now that’s a twist. And that folks, is IT.

All in all, I do like the way this installment lends some lore to what’s been established in the other films, which never was much, and even though some of it comes off as forced or illogical, it holds together for the most part. It certainly works better than either II or III managed to do, and the new setting provides a new world of scares for Cognetti and Co. to deliver, which is the real fun here. Clearly, there’s going to be another installment involving, quite unfortunately, the insipid and annoying Patrick, but as long as he stays dressed as OGC it should work. Here’s hoping.

Found Footage Fave: Leaving D.C.

Reason for filming: A man moves from the city to the country and wants to share his experiences with his friends back in D.C.

Director/Writer/Star: Josh Criss

What’s the horror: Ghosts

Does the dog die? There’s one photo of a dead cat, but it’s pretty tame. The picture I mean. I have no idea about the cat.

Gore factor: None at all

Re-watch scale: Occasional re-watch – it’s a good one, but I hadn’t thought of it in years until a comment on my last review reminded me of it

SPOILERS! SPOILERS! SPOILERS! Don’t scroll if you don’t want to know.

This is a pretty simple movie with a simple premise, so why exactly does it work so well? I think it works because Criss knows this character well, and goes into filming with a clear idea of what he wanted to do and why he was doing it. Yes, it’s a ghost story, but more than that it is a character study of a flawed man who doesn’t understand his motivations very well and struggles to control his impulses. In other words, he’s a lot like the rest of us, but his flaws are heightened by his OCD, and a lack of self-awareness.

He’s a character many of us can relate to, even if it is in a way that makes us cringe. In the first few minutes, Mark makes it clear why he’s made this move – he’s been listening to his friends talk for years about leaving the stress and mess of D.C. but no one’s ever done it, and he wanted to be the first to take action. “I’m not trying to be self-congratulatory,” he tells the camera, but it’s clear he is proud of being the one who didn’t just talk about getting out. He’s the one who got out. I can relate to this – there have been times in my life where I was “the one” who took some step others around me claimed they wanted to take and never did, and the results were a mixed bag. Sure, I was the one who made the complaint against the asshole boss, or quit my job to go back to school – but by being willing to make such moves I also left friends behind who I’d thought would follow my path, or, in some cases, at least support me more than they did. It really is true that talk is cheap – and anyone who’s ever taken such talk seriously knows that no matter how many background voices claim they want the same thing, they really don’t, and are quite happy to just keep talking, or complaining, or dreaming, while never changing a thing about their situation. So when one of us takes action, we usually end up doing so alone.

oh hai Mark

Such is the case with Mark. But he has a disorder that puts added pressure on him. He’s OCD, and the friends who’d been talking for years about leaving are his support group back in DC. So Mike has not only left the city, he’s left behind a support system that has helped him cope with his illness for decades. And as he’s about to find out, they aren’t interested in following in his footsteps. People are busy, and many of our friendships are determined by proximity – the easier it is to connect with someone, the more connected we become. But even one small obstacle can end a friendship these days, or at least transform a close personal one into little more than an acquaintance.

But for Mark, the friends he’s left behind are also the ones who best understand his OCD, and ironically, he needs them more than ever when he leaves them behind. He also might have an ulterior motive involving one of the women in the support group, Claire – he mentions her specifically when talking about having visitors, and her name comes up several times when addressing the group. Perhaps she’s the main person he was trying to impress by making this move, or perhaps he thinks putting some distance between himself and the group will give him an opportunity to get to know her outside of those parameters. Regardless, it’s clear Mark is proud of what he’s accomplished and wants the group to be proud of him too. There’s nothing wrong with that, but it’s one way in which Mark’s expectations are unrealistic. He needs them too much to have moved so far away from them. There will be other examples of this as the film goes on, but it’s notable how well Criss sets up this personality flaw from the beginning of the film.

It’s a lovely house though

All of the videos we watch are ones Mark makes to share with his support group, which is a very realistic reason to keep filming. He never does that thing where, while being chased by a demon or something, he picks up the camera and runs with it – something that adds to the realism of the film. Every video we see is one he uploads for the group, as well as a few livestreams here and there, but they all make total sense and don’t require any suspension of belief like so many found footage films do. It’s quite effective and really does feel as if we’re watching Mark’s communications with his friends.

We get a video of Mark showing off the house, and then another of him chopping wood to prove to everyone who said he wouldn’t be able to make it in the country that he can handle it. There are a lot of little hints like this that flesh out the character and his situation; it’s clear Mark resents such comments and is determined to prove naysayers wrong. Again, it’s understandable; what’s questionable is the extreme to which Mark has gone to prove his point. He truly is in the middle of nowhere, and it’s at least implied that he has never lived like this before. He also comes across as if he’s performing for the camera rather than being genuine with what he shares. Criss does a good job of creating a character who is still quite attached to his support group, and it’s incongruous with what he’s just done. So there’s tension even before ghostly things start happening in the woods around his house.

Apparently the actor did all his own stunts

Mark drives into the nearest town and receives a card from the support group, which is nice, although he makes note of the fact that all Claire could muster was “best wishes.” Clearly he wanted more, but he pretends it’s just a joke, which is kind of grating. More on that later. He then shares a video of himself taking a hike in the woods – he’s come across a tree that has a cat skull nailed to it, which is less than comforting to be sure, but who knows how long it’s been there. It doesn’t bother him too terribly much, and neither do the twig snapping sounds he hears later while taking a break to talk to the camera. But when he goes to sleep that night he hears a terrible screaming sound that wakes him up and prompts him to make yet another video, where he discusses how he spent the rest of the night listening to animal sounds on the internet to try and identify what he heard. We’re starting to see clearer signs of Mark’s OCD, as he seems incapable of letting the noise go and getting some rest. In fact, the next night Mark borrows trouble by leaving a recorder outside his window to see what sounds he hears the next morning. I mean, you’re out in the middle of nowhere, dude; if you actively listen for sounds to freak you out you WILL hear some.

Honestly not a lot of of visuals in this film to share but I’m trying

I can’t help but wonder how different Mark’s experience would have been if he hadn’t put that recorder outside his window that night. It’s hinted at later on that his responses to the ghostly happenings encourage them to continue. Sure enough, when he uploads the audio file the next morning, he finds something strange. First, he hears some jets flying overhead; another noise ends up being an owl. Just watching the screen as Mark skims through the audio file is stressful; we both want and don’t want him to find anything. But he does find something around 3:11 AM – and it’s disturbing. It’s a woman’s voice, although it comes out as a sigh: why, it says, in a whispery wail. Then a moment later, why are you here. But it’s all run together as if coming out in one struggling breath, as one raspy word: whyyyyareyouhere? It’s really well done and creepy as hell. There’s no way Mark is going to be able to let this go. It’s also likely he’s going to deal with it in a manner that makes things worse, rather than better. Unfortunately, that seems to be a habit with this guy.

Mark’s audio file. It’s more interesting than it looks, I promise.

Mark tells us that he’s not going to make a big deal out of it, but he is going to keep recording audio files at night to try and figure out what it is. He also mentions that he’ll be driving into DC soon to meet with a client, and he’ll be attending a support meeting while he’s there. He sounds almost too excited about this, making us once again wonder why he moved away in the first place. Before he makes the trip though, he shares a recording of another night’s noises. Sure enough, he hears something again – it sounds like someone chopping at a tree. The oddest thing about these sounds is that within mere seconds the noise goes from distant to quite close to Mark’s house, which isn’t logical. What could move that fast?

There’s nothing else on the recording, so Mark concludes by saying he feels it’s a good thing that he’ll be going back to DC the next day. He looks really defeated as he says this; as if he’s starting to realize what he’s done to himself by making this move.

He may have made a mistake, y’all.

But the next video is surprisingly upbeat. Mark is making the video just for Claire, whom he apparently went out for drinks with after the meeting he attended. A few too many drinks, he says, following up with how excited he is that she’s coming to visit him the next day. It’s a subtle tension-builder, the fact that Claire has agreed to visit Mark, but probably did so when she was drunk, which makes us wonder if she really wants to go. Not Mark though – he’s pretty convinced that they’re going to have a great time, and he’s downright giddy that she’s coming, and that they hooked up when he was in town. Honestly, it would be a sweet video if we were sure Claire reciprocated his feelings. I found myself wondering why Mark wasn’t taking Claire’s state of mind into consideration at least a little bit, instead of being all in on the idea of them being a couple; there’s definitely a commitment Mark has to his own interpretation of things, and it comes across as a bit cloying, even pushy. There’s a definite lack of self-awareness in Mark that makes him an unreliable narrator, and nowhere is that more evident than in his dealings with Claire.

On a side note, I also wonder how this development may have hindered any help Mark might have gotten from the group about how to deal with the strange situation he’s found himself in. At this point, he’s only focused on Claire and her upcoming visit; he seems convinced that getting together with her will solve all his problems. It won’t – and awkwardness around her will likely make his interactions with the group as a whole more uncomfortable for everyone.

Her face when she gets out of her car makes this clear to everyone, except Mark.

Criss makes a good choice here, by having Claire request he turn off the camera and having Mark actually do that, rather than doing that thing FF movies do where one person whines about the camera while the other person refuses to turn it off for hours on end. We simply cut to that night, with Claire crawling into bed in her pajamas while Mark quite rudely complains about her wanting to sleep in her own bed. I can’t imagine why Mark would be expecting sex given how distant and uncomfortable Claire has been since her arrival, even if they did sleep together back in D.C. Whatever their situation may be at this point, Claire’s face says it all: Mark has clearly been pressuring her all day to show him affection that she doesn’t want to give, and she is over him at this point.

This is NOT the face of romance

This is such a cringy scene, as Mark snarks on about how Claire is all ready for bed with her pillow perfectly placed and her body under the covers. She actually pulls the covers over her head to get away from him, yet Mark seems to think he’s being charming, or that they’re just having a little spat. It’s honestly more uncomfortable than the strange voice we heard on his audio recording, and I am sure Claire’s asking herself the same question the voice had for Mark: why am I here? There is no doubt in my mind Claire will be gone before Mark gets up the next morning, but unfortunately whatever’s been lurking in Mark’s woods decides to act up again, and poor Claire has to wake Mark up because she’s frightened. She must have been really scared, because you just know waking Mark up was the last thing she wanted to do.

But she does wake him up, so our next video starts around 3:00 in the morning. The wood-chopping sounds are back, and while Claire is understandably frightened, Mark isn’t doing much to help calm her down. He argues with her about the possibility that someone is out there chopping down a tree, although that is exactly what it sounds like, and at one point he even shouts out the window “I’ve got a gun!” which he does not. His behavior is inconsistent, since in the past he’s been exactly as scared as Claire is now, and rather than agreeing with her that the sounds are creepy he’s arguing with her about it. It’s a dick move, and just one more way Mark’s behavior is erratic and illogical – he’s been wanting someone to believe him, and here’s Claire, totally confirming that the sounds he’s been hearing are real, but he puts her down for being scared instead because he wants to be macho man, I guess, or he’s still mad at her for sleeping in the guest room. Who knows what his motivation is here – I guarantee you Mark doesn’t.

Claire dashes away from the window, wailing that she can’t stay any longer, but Mark argues against her driving away in the dead of night on an unlit road, which – he isn’t wrong. The camera cuts off for a moment, and the next thing we see when it cuts back on is Claire curled up on the bed sleeping. “It took two Valium but Claire finally fell asleep,” he whispers as he films her, and I can’t help but wonder if Claire knew she was taking two Valium or not. I don’t think Mark is that big of a creep, but I can’t be sure, which is exactly how the movie wants me to feel. “There’s no reason to let this ruin everything,” he whispers, again revealing the depth of his self-deception. Everything is ruined, dude. Seriously.

This doesn’t look good Mark

Cut to the next morning, and Mark is filming a small chopped-down tree he’s found close to the house. He wanted to show this to Claire to let her know she was right, but Claire has already dipped out, and Mark is not happy. “It was creepy, but it doesn’t justify you leaving me at first light,” he says angrily. “Not that you let me touch you anyway.” Yikes, Mark. Just yikes.

Cut to Mark making a final video just for Claire. He tells her he won’t be communicating with her directly anymore, and that he’ll leave it up to her to decide whether or not they’re going to continue their romantic relationship. It’s clear Mark’s still angry, but I also can’t help feeling a bit sorry for him as he looks pretty pathetic sitting in his kitchen all alone, talking about these weird things that are happening on his property and how the local sheriff doesn’t much care. These two aspects of his life – his loneliness at the loss of Claire as a potential partner and his frustration about the house situation – are converging in ways that will most likely result in more anger and denial, and I kind of want to shake him. He needs to pick one of these things to work on and let the other one go, but he’s not going to do that and we know it, no matter how many times he tells Claire he won’t be bothering her again. It’s also worth mentioning that Mark’s interactions with Claire come across as pretty manipulative on top of everything else, which isn’t a good look.

We cut to Mark in front of his computer, addressing the group this time, and ready to download and listen to another audio file. This time he hears something different around 3:11 am – a flute. Mark is understandably baffled. We’re just staring at the audio file as he goes back over and over the few seconds of flute playing, and I was struck by how Mark has hours and hours of audio here, including the sound of crickets chirping and owls hooting in the night, and the birds tweeting as the sun rises, but his sole focus is on the ten seconds when a flute played in the night. Between obsessing over these little moments of irregularity during these negligible seconds of time in the dead of night, and using most of his waking moments to make videos for the support group he left behind in DC, Mark has completely lost focus on why he moved in the first place. He could be enjoying the sounds of nature, the silence, the life away from the city, the opportunities he has to learn new things and live a different, less stressful life; but instead, he’s obsessing over a few creepy sounds and clinging to his past life via the group. In other words, Mark is not adjusting well to his new life at all. It’s not that the creepy sounds aren’t concerning, but rather that at the moment, nothing threatening is happening, and Mark could have chosen to leave the noises alone and save all this worry for when/if something truly dangerous happens.

Now Mark’s standing out in the woods talking about how he drove an hour and a half each way into town to buy himself a “Do not fuck with me drunken scumbags apparatus” – aka, a handgun. This doesn’t feel like a wise decision, but Mark is almost giddy over this latest purchase, even though he lied to the shop owner about his experience with guns (which is zero) to clinch the sale. Mark’s not handling things well, you guys. He fires off a test shot that manages to hit the target he’s pinned to a tree, which Mark responds to with much fist-pumping and shouting. “Stay away from my house, ya freaks!” Is Mark really prepared to kill someone if he manages to catch them on his property at this point? I don’t think so, but Mark doesn’t appear to have given it much thought either way. He’s got his gun, and he’s shown the group (especially Claire) that he’s not going to take any more guff from whoever’s messing with him, so there you go.

Gun go bang-bang yippee!

Next Mark shares a video going over the latest night’s recording. Sure enough, he hears the flute again, and we are treated to an extended deep dive into Mark’s obsessiveness as he explains how last night’s recording started exactly sixteen seconds later than the night before, and if he starts that night’s recording sixteen seconds earlier, the bits of flute playing line up exactly so that what it played on the first night stops just as what was played on the second night is starting, and it’s a continuation of the same piece of music. I mean, okay Mark, that’s weird, but what’s the point? It’s not like this helps him figure out what’s going on in any way, and it’s also likely that no matter how the two snippets of music appeared there would be a way to line them up and convince yourself that they were related. In other words: stop sweating the small stuff, Mark. It ain’t helping. Plus, can you imagine being a member of the group back in DC at this point, having to deal with all these uploads? They have to be feeling resentful by now – Mark chose to move away, and yet he’s trying to drag them all with him into this new drama they never wanted. I have to believe Mark’s stats on these videos have gotten really low by now.

the group watching Mark’s videos

Oh great, now Mark’s live-streaming. It’s 3:09 am and he’s waiting for the sounds to begin. He counts down to 3:11 and sure enough, right on the dot there’s a noise – but this time it’s his telephone ringing. No one’s on the line of course, but this sure seems like an escalation of whatever is happening; the noises are now coming from inside the house, if you will. He tries to call the number back using the old *69 method, but it goes instead to a phone call he got earlier in the day as if there was no record of the 3 AM phone call. We know this because Mark is whispering it all into the camera as he films himself looking out the window. There’s a few more chopping noises, and then we’re out.

Oh look, now Mark has bought a field camera and he’s mounting it to a nearby tree. On this trip into town, the hardware store owner told him that the house he bought was the home of a suicide and disappearance years earlier; a father and his daughter lived there until Dad hung himself one night and his daughter – who supposedly was schizophrenic – was never found. Dammit, shop owner, why tell Mark this? I hope Mark haunts you with shop visits every week as punishment. Did I mention that Mark is getting more and more annoying with every passing second? His anger is palpable, and it’s making him increasingly miserable to watch.

At least we don’t have to listen to more audio the next morning, because Mark is more concerned about his field camera, which was stolen during the night. He films himself calling the local sheriff, who could care less. In fact, we can clearly hear the guy placing a bagel order while Mark is talking to him. Heh. Mark is less than pleased. On the one hand, you can understand the sheriff’s apathy here; some dude bought a field camera that he inexplicably set up right next to his house and didn’t lock down, and it got stolen. Whatever dude. On the other hand, there’s a lot of buildup to the use of the field camera that the sheriff doesn’t understand, so his lack of concern is troubling. There’s no doubt about it, Mark’s on his own here, and despite his increasing unpleasantness, I do feel bad for him. All this is familiar movie haunting territory, after all; no one ever believes the hauntee in these things.

Well, I spoke too soon, because now Mark is sharing an audio file with the group. Oh, Mark. He hears the tree tapping, still moving from far away to incredibly close in a second or two, which is impossible, and then what is clearly the sound of someone snatching the camera from the tree. Mark’s going back to the hardware store, y’all. Let’s hope the shop owner keeps his mouth shut this time. Mark comes back and sets up his new camera, all locked up and secure this time.

Mark films himself uploading the SD card from his camera after letting it run all night. We get some snaps of him as he’s setting the thing up, and then at around 3:00 AM we get 3 shots of a person-shaped shadow walking past it, looking as if whatever’s casting the shadow is wearing a hooded cloak. Oh dear. Then we get a picture of the tree with the cat skull, which is miles away, but the time stamp shows it happened the next second. The next picture is of Mark taking the camera down. Okay, Mark, now you can panic. We watch him try to reason his way through the possibilities – someone stole his SD card and replaced it with those photos, the time stamps are faulty, or he’s being haunted. Yep, that sounds about right. I have to believe there’s almost no one watching these uploads to the group anymore, though; and we already know the cops aren’t going to care, so Mark’s screwed at this point.

Time to move, Mark

Mark decides to get a security system installed in his home. So much for that whole moving-to-the-safety-of-the-country thing. He also says he’s not going to do any recording when he goes to bed that night which, honestly, good for you Mark. Then he follows that up by saying he’s going to have some wine even though he’s not supposed to drink alcohol with the medications he is on. Bad for you, Mark. He also tells the camera that he posted about his situation in a paranormal forum, which he is clearly embarrassed about, but all he’s gotten so far is people calling him a liar, which I think is odd for a paranormal forum but what do I know. One woman asked him for more information, but Mark is convinced she just wants to sell him something, and besides, his security system is being installed that day so he’s more concerned about that than anything.

The next day Mark is hungover because he drank the whole bottle of wine. Self-destructive much, Mark? He’s making worse and worse choices as time goes by, and it’s hard to tell which is doing him more damage – the noises in the woods or his declining mental health. Oh wait, it’s definitely the noises in the woods, because Mark found the first game camera, the one that got stolen, just sitting on a table in his bedroom that morning. Wha? How’d that happen? Even worse, there are photos on the SD card of that camera, and they are…not good for Mark.

It’s baaaaack

The first picture is of a hallway in Mark’s house. Yikes. The next one is a shot of the same hallway, but taken from the other end of it. The time stamp, however, says both photos were taken at the exact same time. Then there is a photo of the stairs, and another one right outside his bedroom door. Taken just a second after the hallway photos. Oh, Mark. I don’t think a security system is gonna do the job for you here, buddy. The next photo is really odd – it’s a picture of a dead cat (grrrrr) and a strange note next to it that says “Bunny by Vandal. Most beautiful tart. Killed her.” I wish this made some sort of sense but it doesn’t. All I can guess is that this is the cat whose skull is nailed to a tree in the forest. Google searching the phrases results in nothing but reviews of Leaving DC, so no, this is never explained. Then we get a picture of the cat skull again and some blurry tree shots.

Again: THE CALL IS COMING FROM INSIDE THE HOUSE, MARK

I think scenes like this are what make Leaving DC work so well. Mark just uploads this stuff and reviews it, but he has no explanation for any of it, and as the viewers, we never get one. This makes the format feel genuine; we are presented with this creepy stuff as Mark discovers it, and we’re as confused as he is about what might be going on. There’s no dramatic irony in this movie, and the audience is never privy to anything Mark isn’t already aware of. Nothing ever sneaks up behind him while he’s filming, and there are no photos with spooky shapes in them that we see but Mark doesn’t. We know exactly as much as Mark does, and with a few exceptions, we’re discovering new information in the same moment he is. In this regard, it’s probably one of the most honest presentations of found footage I’ve ever seen. It sticks to the original concept and doesn’t deviate from it for a second. It’s very effective.

Oh look, now the forest is giving us a live concert in the rain! Mark films himself listening to the flute playing in the distance at – you guessed it – 3:11 AM. He’s got his gun, but he makes it clear he’s not going to go outside to use it. Good call, Mark. Poor guy is despondent at this point, because despite all the “doing” about it he’s been doing, nothing’s changed. Well, some things have changed, but only on Mark’s end. He’s sleeping in later and later, and he’s upgraded from wine to vodka. He gets a response from a woman on the paranormal forums that he reads on camera – and in my opinion, this is where Mark seals his fate.

The woman tells Mark that she does believe there is a spirit surrounding his house, but she does not believe it means to do him harm. Her guess is that it is a female spirit that is still attached to the home because female spirits tend to be more attached to houses and locations than male ones. She tells Mark that if he will stop trying to film the spirit, or record it, or do anything it can interpret as him trying to “harm” it, the visitations will most likely go away in time. As a new male in the house, she believes the spirit is merely curious about who is residing there now. She also tells him the spirit is playing the flute for him, not to intimidate him but to connect with him. She says the spirit was most likely insecure and troubled in life and continues to struggle with these things after death, and if Mark makes her feel accepted and welcomed, ironically, she will calm down and eventually go away – or at least stop bothering him.

So there you go – this information sounds as likely as anything else Mark’s come up with so far, and at least someone has FINALLY believed him and taken his story seriously. So does this explanation ease Mark’s worries? Does he appreciate this woman taking the time to try and help him? Of course he doesn’t. He’s pissed she dared to claim that Mark is “harming” the spirit instead of the other way around. And he’s really mad her assessment of the presence is benign. He’s also terribly disdainful of the woman’s username – astralmom – and is disparaging about her belief in spirits and love and light, even though he’s the one who ventured into the paranormal forum asking for help. When this well-meaning, accepting, comforting woman offers Mark a real glimmer of hope, Mark shits all over it, and it is from this point on that I feel Mark is doomed. He makes a conscious choice to go in the opposite direction here, and it seals his fate. Thanks anyway, astralmom. You tried.

No, you’re not miserable, I’M miserable

Oh hey, remember Claire? Mark’s next video is directed just to her, and from the moment it starts playing Mark is clearly piiiiisssed. He has this wiseass smarm thing he does with his voice and face when he’s mad, and it’s in full effect here, making me want to poke him in the eye with the cold end of a flute. It seems someone posted photos and videos in the Facebook group of a recent hike they went on, and from these, it’s clear Claire has started dating some other member of the group. I mean, how dare she? And how dare the group go hiking anywhere other than Mark’s property, where there’s nothing but miles and miles of forest in all directions? I mean, it’s a haunted forest, sure, but it’s Mark’s forest, and the group should be missing him enough by now to be beating a path to his door, but they are not, and Mark is furious. Josh Criss does a good job of making Mark unbearable, ridiculous, and sympathetic at the same time during this tirade. He made a massive mistake moving away from the city (Leaving DC, if you will) because instead of getting rounds of applause and accolades from his friends about taking the leap, he’s been haunted by wandering flute-playing wood-chopping weirdos, rejected by Claire, and left behind by the entire support group. There’s genuine hurt behind Mark’s anger here, and Criss successfully ties his real-world issues around Claire and the group closely to the ongoing forest-ghost problems. It’s hard to say which one breaks Mark down more, but if I had to pick, I’d say it’s this final rejection from Claire and the group. Poor Mark.

I wonder why no one ever visits?

It’s 2:30 in the morning, and oh dear. Mark’s clearly drunk. There’s a bottle of vodka and a shotglass on the windowsill as we listen to the flute concert going on outside his window. The flute is pretty loud and echoes over the forest; it almost sounds as if there’s more than one playing now. He’s also got his gun. Booze and guns in West Virginia – who says Mark isn’t acclimating to his environment? Mark shouts at the flute to be quiet – astralmom’s advice be damned – and it stops for a few hopeful minutes before starting up again. Mark’s had enough. He cocks his gun and goes outside. We stay with the camera’s perspective, looking out the open window of his bedroom. We hear his new security system beep as he opens the front door, which is a great touch, and the flute stops playing. A second later we hear a gunshot. Almost immediately, the camera tilts, and the focus floats up to the ceiling, then cuts out. And that’s it.

I believe this is what you’d call “rock bottom”

So, did Mark successfully kill whatever was out there? I doubt it, considering how quickly the camera gets shut off after we hear the gunshot. It’s been established that the ghost, entity, presence, whatever you want to call it can move about almost in the same second, so it makes more sense to me that the ghost shuts the camera off, not Mark. But where does that leave him? Did he try to shoot the spirit and miss, and if so, did the ghost kill him in response? Or did Mark go outside and turn the gun on himself? The camera doesn’t tell us; it just shuts down, just as it will when someone, or something, uploads this to the support group’s Facebook page. In the end, we don’t know any more about what happened to Mark out there than Claire or anyone else. And that’s just the way Josh Criss wants it. Well done, dude. And I seriously hope you are nothing like this character because if you are then I guess I owe you an apology for being hard on you. I’m assuming the house you filmed this movie in is yours, and that you are still alive and doing well. But if you ever get lonely who knows – maybe hit up astralmom and see she’s up for a visit. I think the two of you would really get along.

Mandala Mania

Hello everyone! It’s been another minute since my last post, but what can I say? I’ve always been completely unreliable so you should be used to that by now.

My last post was all about doll photography, and man has a lot changed since then. While I have added somewhat to my collection, my photography has not taken off like I thought it would. While on occasion taking doll pictures is fun, it has not turned out to be all that enduring as a hobby. I still do it on occasion, and I can make another post sharing more recent photos later, but what has really taken off is that rock painting I talked about a while back. It’s changed a lot since the start of it a year ago, so let’s get into it.

It started with buying rocks on Amazon and using acrylic pens to paint on them. I did all sort of designs and slogans and drawings, which was fun, but the first problem I encountered was the cost of continually buying rocks on Amazon. I mean, that adds up quick. So with Doug’s help I switched to making my own rocks using molds and plaster. That was a real game-changer for me, as it forced me to break my addiction to the paint pens and really start using painting tools and acrylic paints. Thus was my dot mandala obsession born.

For whatever reason, the acrylic paint pens didn’t work well on these new rocks, and although I tried many different sorts of primers and base paints to get there, it just never worked. So I decided to buy some dotting tools and acrylic paints and try my hand at making dot manadalas. None of the above are my first attempts at this, as most of them were pretty bad. I struggled with symmetry and control over my dots and swooshes, so things were pretty sloppy unless I kept things very simple, as I did in most of the ones above. But soon I encountered another problem.

Yeah, there were rocks EVERYWHERE. And yes I know, I could be selling these somewhere, but I’m not up for that at the moment. So something had to be done.

At the time, my husband was working on a craft of his own involving D&D miniatures, and he had a bunch of these wooden tiles left over. I’m not sure what kind of wood this is – it feels like balsa wood and is very light and pretty thin, but hey, they were there for the painting, so I took them on. And overall I liked being able to work on a larger space that was also flat, which helped a lot, and I was able to start refining my techniques. I think you can tell that I’m getting a bit more inventive, but symmetry and consistency are still my biggest issues. Anyway, after I blew through his square tiles, I found that Amazon also carried round ones, so that was my next step.

Some other issues I had to work through/learn were getting the right paint consistency and how to create a nice smooth surface on these tiles. They have a grain to them even though they appear and feel smooth, and without any priming the paint seeps into those tiny lines and distorts the shape of the dots as well as making it hard to smoothly manipulate paint across its surface. For a while I was using spray primers to help with that, which it did to an extent, but it was unreliable and I was dependent on the weather for when I could use it (it needs to be sprayed in a big space or outside). I also had to experiment with different brands of acrylic paint and paint thinners until I found the combination that worked for me. But I’ve pretty much got that part figured out for now. I actually really like the Crafter’s Collection paints from Hobby Lobby – we don’t have a Michaels in town so I’ve had to suppress my opinions about HL to get my materials – they are quite inexpensive at .50 for 2 ML of paint, and they have a pretty extensive palette to choose from. However, they are VERY thick which on its own leads to a ton of paint cracking, which was super frustrating for me until I did some reading and tried using paint thinner with them, which did the trick. I actually like a paint pouring medium that’s also available at Hobby Lobby (I learned the hard way that buying paints online sucks becuase they’re often old and gloopy). I do also like Americana DecoArt acrylics, but they’re a tad more expensive.

So, these tiles definitely took up less room than the rocks, but guess what? It didn’t take long for them to ALSO start taking up space in the house, so I decided to try my hand at painting mandalas on acrylic paper. My thinking was that I could paint directly onto sketchbook pages and then store those, which would certainly be a space-saver. I even found these awesome sketchbooks on Amazon that have removeable sheets you can reattach to the notebook when you’re done, which is fantastic.

For most of these, I would use the leftover paint from my previous mandala as the base color of the next piece, but I’ve since found a better system for retaining paint at the end of a session so most of the ones I do now are on black backgrounds.

This is still where I’m doing most of my work for now, EXCEPT for one additional base material I discovered via some Pinterest pictures:

Old vinyl records! You can buy fake vinyl records on Amazon and paint all the way up to the little hole in the middle, but I liked the idea of finding records with cool labels i could use as a base for creating color palettes and shapes. Unfortunately most labels are boring, but I did manage to find a few interesting ones.

Obviously I’ve taken a step backwards regarding space-saving and de-cluttering, but records are pretty fun to paint on, and at least they can be hung on a wall easily. Doug has a ton of old records, and although most of them are rare or collectible, he does have some duplicates that I’ve also painted.

Obviously there are some different approaches to these different materials; I’ve found that using chalk paint as a base is best for vinyl instead of some other primer option, but other than that the process is pretty much the same as for paper, except the surface of the vinyl is more smooth which makes dotting and swooshing really satisfying. And as I said, hanging them on a wall is as easy as hanging the center hole over a pin or a nail.

So this is how I’ve been spending my time the last few months. I’ve watched a lot of good horror movies, too, but haven’t had time to review any of them. I’d like to review Leaving DC as a reader suggested, but I haven’t watched it in a while so I need to do that first, and there’s been so much fun stuff to watch lately (Late Night with the Devil, Hell House Origins, The First Omen, etc) that I haven’t been re-watching a lot of older stuff. But I’ll get around to it eventually.

Dolly Shots

I can tell I’m going to quickly run out of doll puns to use as blog post titles. Oh well.

I’ve been doing a fair bit of reading since my last post, and have picked up some tips from others to improve my doll photos. One big mistake I was making was using too much light. Generally, when dealing with a human subject, you want as much light as possible on the face to balance out uneven skin tone and help hide imperfections. Not so with dolls. Too much light on a doll’s face and you end up with a hunk of plastic with eyes. You actually need more shadows on a doll’s face to give it depth and dimension. So yeah, learning this improved my results tremendously.

I’ve also had to pull way back on my photo editing – which has always been my first love – and put more care into the shots themselves. When taking self-portraits I worry mostly about color and the texture of fabrics, then I just twirl and jump and roll around until I come across a good shot or two. Dolls obviously cannot do any of that, so most of my time is spent on getting the setup and the pose of the doll just right before taking the photo. There’s a lot of upside to this. While much more time is spent actually taking the photos, a lot less time is spent editing them, and I also don’t have to take as many to get a good shot.So, it’s a different process, and I still get too heavy-handed with the editing on occasion because I can’t help myself, but overall I’m starting to really enjoy it.

Obviously, I am now obsessed with buying dolls, but it’s much cheaper than wigs and people costumes, plus I don’t have much room to build up a massive collection so that helps. And with “fashion dolls” like the Monster/Rainbow/Shadow Highs or the LOL OMGs, they usually come with extra clothes and accessories so I can mix things up. There are some gorgeous dolls out there I’d love to buy, but they actually cost more than a synthetic wig even at today’s prices, so that’s not going to be happening. Pullips and Blythe dolls are the two I’m drooling over, but I couldn’t see myself daring to take one of these and stick them in a tree to take a photo anyway, given their price point, so for now I’m sticking to dolls in the $20-$30 price range.

Pullip doll – price range $200-$400. These are supposed to have more posability than the Blythes, but I still like the Blythes a wee bit better.
Blythe Dolls – $250-$400 without customization – that pink one tho!! It’s everything.

After some experimentation, I’ve figured out the best lens to use (my 17-40 mm L-series)and where the best setup is around the house (on top of my desk). One nice thing is that I can sit in a chair while I take pictures! 🙂

She’s leaning on a little desk shelf I have that I turned over on its side – I also used some PhotoShop magic so that her eyes are looking to the side instead of straight ahead, and changed her skin from blue to pale.

My head is brimming with ideas right now for things to try, which is great – I bought several rolls of wrapping paper to use as backdrops as I still prefer to take pictures in a studio setting as opposed to outdoors, and all sort of things I have around the house can be put to use as props.Some work out great, others not so much, but it’s so much fun trying things out I don’t mind too much when something fails.

Wallpaper backdrop and $12 doll from Amazon
There’s that desk shelf again
I freaking LOVE this doll’s hair and rockin’ outfit

I often look up photos of real people to help me get poses right. My little $12 Amazon doll in front of the wrapping paper was posed by looking at photos of poor children from the 1800s. And this rockin’ babe was posed in imitation of all those Charlie perfume ads from the 80’s with Shelley Hack in them. Remember those? In almost every single one of them she’s walking with this wide stance and her hair is blowing everywhere. I can still sing the jingle.

There’s a fragrance that’s here to stay, and they call it – CHAAARLIE!
OK so I had to add a background to this one – and check out those SHOEEEES!

I’ve started to look more at the clothes a doll comes with than the facial features, since these two brands I really like mostly look the same but with different hair. And since a set of clothes cost as much as, if not more than, just buying a new doll, I’ve got two more coming that I bought strictly for the outfits. But the dolls are cute too:

LOL OMG Melrose doll – I NEED those leggings!
OMG LOL Groovy Babe – I need those leggings, too

The OMG LOL’s don’t have as much movement as the Monster/Rainbow/Shadow Highs (their legs really aren’t bendable at all), but they’re about an inch shorter which makes them easier to deal with. I also like their big old anime eyes and the fact that they’re all pear shaped – lots of junk in the trunk and pretty small boobs. My Rainbow and Shadow High dolls are adorable, and I love the monochromatic color schemes, but they’re not curvy like the LOLs.

Speaking of which have you seen the curvy line of Barbies? They’re pretty awesome. Just wish they dressed them better. Although this one looks cute:

“Curvy” Barbie AKA Normal Sized Barbie

Sadly, my Madame Alexanders have pretty much been shoved to side, since they don’t fit the photography I’m doing at all, but I still owe them for the inspiration. More to come!

Horror Heights – “Fall” (2022)

SPOILERS BELOW! Don’t read if you don’t want to know.

What’s the Horror: Two climbers get stuck on top of a 2,000 ft. tower

Does the Dog Die? There’s the death of one extremely mean bird

Gore Factor: Maybe a 2? Aside from the bird, there’s really no gore in this one

Character Quality: Weak. Borderline annoying. But there are enough thrills for me to overlook it.

Re-Watch Scale: I re-watch this one a lot. It’s an easy watch, and those heights never cease to freak me right the hell out.

I kept the review title because it pretty much sums up my feelings about this movie

Indeed, as a movie, Fall should not work. I think for many people it does not. But given how long I have been watching horror movies, the big thrill I get out of this one is that it actually terrifies me. I’ve watched it many times now, and every time I cringe, wince, and hide my eyes – the tall shots never cease to freak me out, and that’s a lot of fun and one of the reasons I love horror. It’s great to find a movie that will get to me repeatedly, even if it is wildly uneven, ridiculously stupid, and completely implausible. Hey, I’m a horror fan. I’m used to these characteristics.

SPOILERS BELOW! DON’T READ IF YOU DON’T WANT TO KNOW!!

As previously mentioned, Fall is about two female climbers who climb a 2,000-ft tower on a lark and then get stuck up there. If you’re wondering how a movie could sustain this premise for an hour and forty-five minutes, well, it’s clear the writers already thought of that. Unfortunately, they toss in some silly side stories to try and pad out the length, and those things hold the movie back from being awesome. Stephen King said he wished he’d thought of the premise and written a book before anyone else came up with the idea, and I totally agree. If anyone could have made this premise work over a series of days, he could have. But he didn’t. Oh well.

Hey looka me! I’m an idiot!

Our main character is Becky, and we first see her as she and her husband Dan, along with her best friend Hunter, are scaling the side of a huge cliff. Now look, I know nothing about rock climbing. I am lucky to climb a flight of stairs without toppling over. But my first impression was that these people did not look like experienced climbers. First of all, with the exception of Hunter, they seem terrified to be as high up as they are, and Becky in particular comes across as very unsure of herself.

Nnnnnope.

Dan doesn’t appear to be much better, because when he slips and takes a swift plummet down until his rope (or whatever they call it) breaks his fall, he is instantly panicked beyond belief. I have to assume that this sort of thing is always a possibility when one is climbing a freaking cliff that never intended to be climbed, so I would imagine there is a proper way to rectify a situation such as this. Isn’t that why they are all attached to each other and there are ropes and clips and pulleys and shit everywhere? Again, I know absolutely nothing about that of which I speak, but his immediate freak out (complete with “high danger” music in the background) makes me wonder just why either he or Becky started doing this stuff in the first place. They both come across as nervous as hell and overly reactive to every little thing that happens – you know, more like EXACTLY like I would be if I tried this shit. And it must also be said that the shots of Dan dangling from his rope, spinning and struggling and squealing, involve what turns out to be the worst green screen of the movie. He just looked so incredibly fake here, and it worried me about how good the rest of the movie would look. But the rest of it is fine,, so I’ve no idea why this scene didn’t look better.

That first one’s a doozy, Dan

Cut to Becky a year later, sitting in a bar by herself, getting drunk, and listening to Dan’s voicemail message over and over. She staggers out of a bar that looks very “1970’s New York City”, and oops – there’s her dad waiting next to her car. He’s worried about her and tells her she needs to stop glorifying her dead husband and get on with her life, which is – a weird thing to say. I get the whole get on with your life part, but telling someone who recently lost their spouse to stop idolizing them in their mind is pretty bold, and as Becky points out, not particularly useful.

I have to say that the actress playing Becky doesn’t have the gravitas to nail this scene. She just looks so very young, and while even very young women lose spouses, I don’t feel like they take to frequenting seedy bars that are clearly watering holes for professional, pathetic, seasoned alcoholics. The whole scene comes across as cliche as a result.

Nooobody knooooows the trouble I’ve seeeeeen…

Cut to Becky in her apartment, with Dan’s ashes still in a USPS box on a table. At least, we assume it’s his ashes. If not, then damn, there really wasn’t much left of him after he landed. Becky tries to call Dan’s voicemail again, but oh my – it’s been shut down. Becky loses it and starts scrambling through her cabinets, looking for what we can assume is enough medication to end her life. Fortunately her cell phone rings – her ringtone is “Cherry Pie” by Warrant, which is done heavily-handed enough for us to get that the song is going to have some significance later. This movie doesn’t exactly hide its cards, kids. Anyway, it’s her friend Hunter, who was climbing the cliff with Becky and Dan when he fell to his death. Hooray! Becky lives!

Hear that? It’s the sound of an anvil dropping.

Hunter has “come back” from wherever she’s been because good old Dad called to tell her how bad off Becky is. Hunter does come across as likable and sincere in this scene, if a little pushy. See, Hunter has a new climb she wants to pull off, and she thinks Becks should come along, which seems a bit much to ask. But, according to her in some of the film’s signature clunky dialogue, Hunter tells her that if she doesn’t face her fears now she’ll be scared forever. Which may be true, but when your loved one plummets to his death in service to a cliffside that never wanted him there, well, maybe Becky should be afraid. I’m just saying. I think there are many, many things Hunter could have suggested here to push Becky out of her doldrums that did not involve putting her in danger. Maybe, I dunno, clean out your apartment instead? Take a trip to the beach? I’m just spitballin here.

What Hunter has in mind is climbing something she calls the “B67 TV Tower.” Cut to pictures Hunter has on her phone showing said tower. It’s tall. It’s rusty. It’s a tower. So yeah. Hunter wants Becky to climb this thing with her. It’s only a six-hour drive, after all, which – is it just me? – seems long a long way to travel. Damn, how long did they drive to reach The Cliff of Dan’s Departure? Because however long it took was too long, all things considered. Hunter wants the two of them to climb the tower, and Becky quite reasonably declines, although we all know she’ll change her mind because if she doesn’t, no movie. Sure enough, the next morning Becky walks into the bathroom while Hunter is brushing her teeth and says, “If you’re scared of dying don’t be afraid to live,” which is apparently something Dan used to say. Real deep, Dan. But maybe you should have been just a leeeeetle more afraid of dying dude. Just a little. But whatever – floating on a sea of Hunter and Dan’s platitudes, Becks is inspired. So she agrees to climb this TV tower. Hunter, of course, is thrilled.

Cut to Hunter and Becky driving up a dirt road in a desert-looking area, “Cherry Pie” accompanying their journey. Surprise! It’s Cherry Pie time again! Then we cut to inside the SUV where Becky is watching a video of herself on Hunter’s phone. She’s pole dancing – sort of? – in that we see her grab a pole and attempt to bend herself backward. Oof. I hope that wasn’t some kind of competition. Becky comments on how “ripped” she was, although she looks no different to me, and Hunter tells her she is awesome and she wants that old Becky back. So couldn’t you have suggested that they go do some pole dancing instead of this? Seems way safer. Becky then starts flipping through Hunter’s other photos in that incredibly intrusive and inappropriate way most people do when you give them your phone to show them ONE PICTURE. Stop doing that, people. It’s rude as fuck.

Seriously, where is the rest of this dude? Is he reaching out to her from the bathroom?

Becky flips to a picture of Hunter leaning over a balcony railing and smiling widely. She has a lovely smile. There’s what is clearly a man’s hand across her shoulder. Gee, who is that guy, Becky wonders. Hunter blanches a bit and says she doesn’t even remember because it was so long ago. Annnnnnnd if you can’t see that bit of writing on the cliff wall then I don’t know what to do with you. Not subtle, this film.

I’d prefer to skip this next scene, which is just the girls eating in a diner, but there are anvils aplenty that must be dropped, so here we are. We find out that Hunter has a YouTube channel called “Danger D,” which is completely horrible, and if you don’t get the hint that she names her channel Danger D and has no D in her name and Becky’s husband was named Dan, then again, you’re on your own here. Because seriously. Becky still has no clue though, and focuses not on the horrible channel name but on the fact that Hunter appears to be playing a character on her channel and not acting like her real self. Because in general, that never happens. Whatever Becky. Hunter exposits that her channel is sponsored, so she makes coin from going on dangerous excursions. I can’t recall if it’s now or later when Hunter says she just doesn’t feel alive unless she’s doing something dangerous, which aside from being clunky as hell, I guess also explains the whole “Danger D” situation. Climbing towers is one thing, but sleeping with married men? Now that’s dangerous. But somehow I suspect she didn’t upload those videos to her channel. Moving on.

I can honestly say I’ve never eaten at a roadside diner that has lamps on the table. Is it just me?

We gotta plunk down one more anvil before we leave – Becky’s phone is out of juice, so Hunter removes the light bulb from the lamp, and aligns the prongs of Becky’s charger with the holes that I assume hold the light bulb in place? I dunno, all I know is she does this and Becky’s phone starts charging. Since this is a lot of focus on something that surely doesn’t seem to matter, we can only assume this will come in handy at some point in the future.

Cut to Becky in a dream, lying in bed with Dan beside her. She tells him she loves him, and Dan responds by – tapping on her hip with his fingertips? He basically taps out the letter of each word in the phrase “I love you,” (tap once for I, tap four times for love, and three times for you – whatever Dan) and by the way Becky reacts this is the first time he’s done such a thing. I have no idea how long they’re supposed to have been married by now, or why this matters, or why he doesn’t just say it anyway, but suddenly Becks is covered with blood and then she wakes up. Time to climb! There’s a shot of the hotel floor as the curtains wave in the breeze, and damn, that is one dirty floor. Do not walk barefoot in there, Becky! Talk about danger.

Unfortunately, Hunter is much more interested in filming a spot for her YouTube channel than paying attention to where she’s driving, because the two haven’t even left the parking lot before almost creamed by an oncoming truck. Do not trust Hunter, Becky! She’s still likable, but I get the feeling that the only thing y’all are going to be climbing is the stairway to heaven. But I’m getting ahead of myself.

Let’s get to this damn tower and get the movie started for real. It’s ridiculously tall. It’s old. It’s surrounded by fencing and menacing signs that unsurprisingly warn people that death is lurking. So maybe they should be unafraid to live? But Becky is afraid, so fuck off, Dan. As Hunter describes the tower to her iPhone – to be uploaded to YouTube later – Becky quite reasonably starts to panic. She tells Hunter she can’t do it. Because she is a sane human being. But Hunter ain’t havin it. She gives Becky a pep talk that would be sympathetic and kind if she were trying to convince Becky to do anything other than this to get over her fears. But it works. Becky tells Hunter that’s the kind of inspiring message she should be posting on Instagram instead of her Danger D persona, and I thought it was YouTube, but whatever movie. Off they go towards the tower.

Hunter runs to the bottom of the tower, exclaiming “Holy shit! How awesome is this?” which it clearly is not, Hunter. And there’s something forced in her tone that leads me to believe she knows it’s not. She comes across as trying just a little too hard to be stoked here, which could be her staying in Danger D mode or something. And here is where I have to mention a few other things that bother me about Ms. D. Why is she wearing Converse tennis shoes? Becky had the smarts to wear actual climbing clothes, but Hunter looks like she’s dressed for Coachella instead of the B67 TV tower. Maybe she’s dressed for the Fyre Festival. I hear it’s making a comeback. Short shorts, Converse sneakers, a push-up bra that elevates her knockers (tits get the clicks, she says, and heh. I’ll give her that one). She 100% is not dressed like a serious climber, while Becky is in athletic gear. What gives, Hunter? I guess this is just her dressing for her followers, but if her followers really expect her to wear useless outfits while risking her life then they should all fuck off, in my opinion. Anyway, they do that thing climbers do when they hook themselves together because that is helpful for reasons I don’t understand. Maybe we should ask Dan, who is in Becky’s backpack at the moment, by the way, so they can scatter his ashes from the top of the tower.

And here comes the best part of this movie, hands down (or up, such as it is). The movie has actually done a decent job of building up tension leading to this moment, and some shots of old, shaky nails, rusted-out beams, and rickety wires help raise the stakes. This thing is tall, y’all, and it is absolutely insane that these two are going to climb it. But I’m at home on my sofa so I’m here for it.

I don’t know what I was thinking really, but I was surprised to see there was a ladder that went all the way up to the top of this thing. I mean, hey, it’s only a ladder, right? Just take it one rung at a time and all will be fine! The ladder is inside a cage-like structure for 1800 feet (info thanks to Hunter and her future uploads), but the last 200 feet are out in the open as the ladder breaks free from the structure. Seriously, why? You couldn’t extend the cage another lousy 200 feet, tower? When they reach that part, it’s gonna be windy as hell, and basically awful all around. Hunter is up ahead in her Converse and push-up bra, with Becky trailing behind and panicking the entire way. Remember, this is supposed to be good for you, Becky! Hang in there!

No. Just no.

There’s lots of cuts between the duo climbing ever higher, and the structure getting ever more unstable. Somehow, neither one notices. I mean, the thing is shaking, y’all, and shit is just falling off it left and right, plummeting so far down that we can’t see it hit solid ground. This is ridiculous. Why is this happening. Stop this, movie. You’ve lost your mind. Becky grabs one of the rusted rungs, and it snaps off, falling to the ground. We watch it go down in a sickening shot. I don’t even think they’re halfway up yet. Hunter asks if she is OK, and Becky rightly tells her she is not. Because of course she’s not. Hunter keeps climbing up gleefully. Somebody please stop her.

Where is the top of this tower, movie? FOR THE LOVE OF GOD WHERE IS THE TOP OF THIS TOWER

They stop for water. Hunter is amazed that the diner looks like part of a little toy town. Yes, that’s how heights work, Hunter. Next, she’s going to say that everyone looks like ants down there. Imagine what people would look like if they fell off this thing, Hunter. It’s called foreshadowing.

This climbing segment is the best part of the movie, but trying to describe it in detail here would fail to capture that, so suffice it to say after much trembling, quaking, shaking, and looking down when one should clearly only look up, the duo make it to the top of this thing. And they’re happy about this. I get being happy that you didn’t die and all, but I do not get being happy standing on a tiny little rusty metal platform 2000 feet in the air. Go home, movie. The thinning air has bloated your brain.

The girls celebrate for a while, sending Hunter’s drone out to circle around them and take some sickening shots of them risking their lives for thrills and clicks. They also scatter Danger Dan’s ashes. He’s not worth the risk, Becks. You should have just flushed him.

So, woo-hoo, wee-hee, we’re on top of the world. Isn’t Becky glad she faced her fear? Wasn’t Hunter right all along? And just when Becky is about to agree with that statement, Hunter hands Becks her camera and tells her to film her as she squats down and then hangs off the platform like she’s in the world’s worst Presidential Physical Fitness Flexed-Arm Hang. But this is Danger D, after all, so she can’t just hang there holding onto the edge of the platform like a moron, she has to take one hand off for added Darwin points. You win, Ms. D, you win. Can you please stop this now?

D is for Danger. And also for Dan, dipshit, and dumbass. And dead. Spoilers, Hunter!

Somehow this young and healthy but not even remotely muscular young lady manages not to die and hauls herself back onto the platform. I think we all know what comes next.

Hunter harangues Becks into following suit. “The old Becky would have done it,” she says, but I mean, the old Becky was married to a philandering asshole, so maybe that’s not the most inspiring thing she could have said. But it works. Hunter reassures her that it will all be fine because she is going to hold her hand while she dangles 2,000 feet in the air. That’s right, folks, the chick with a bad YouTube handle and not one visible muscle is going to dangle another human with one arm from the top of a 2,000-foot tower. I mean, not even Michael Jackson was this reckless with Blanket, for Christ’s sake. But soon it’s done. Becky dangles, Hunter manages to both hold her with one arm and snap a photo of her with the other and then pull her back onto the platform. Seriously, can Hunter fly as well? I hope so, because that is a skill she’s going to need pretty soon.

Enjoy this moment, kids

So okay, great. They climbed and conquered this salty bitch of a tower. Now it’s time to get back down to earth. Except the tower has some cards of its own up its steely sleeve, and it’s about to play its creaky old hand. They hook themselves back up or do whatever it is that climbers do before they descend anything they just scaled. Becky goes first. Off the tower and onto the ladder she goes, and as soon as she lets go of Hunter’s superhumanly strong hand, the ladder emits a sickening crack and series of jolts as the camera close-ups on screws popping off and the ladder un-attaching itself from the pole. The ladder breaks free from the top of the platform, sending Becky backward as it folds in half. NEVER LET GO OF HUNTER’S SUPERHUMAN HAND, BECKY. I feel like this one’s kind of on you.

I think this same thing happens in Urban Cowboy except Bud was only hanging like, 300 ft. Have you learned nothing from Bud and Sissy, Becky? Because it sure looked like you were downing all those depression drinks at Gilley’s.

So now Beck’s back to dangling off of the tower again, albeit at a slightly lower elevation. I doubt she finds that comforting. Becky hangs off the edge of the folded ladder for a few seconds before the ladder completely detaches from the tower and plummets to the ground. Becky follows, saved only by the miracle rope tied to Hunter, who uses that one miracle hand to grab onto the pole and stop herself from being dragged down with her.

Becky pulls a Dan by flailing and spinning from the rope while repeatedly banging into the pole and freaking the fuck out. Except this time I don’t blame her. They were nowhere near this high when Dan and his wandering dick met their demise. Hunter uses Magic Hand to wrap the rope around the tower pole and start pulling Becky back up. Hey, I just had a thought – do you think Hunter’s Magic Hand had anything to do with Dan being tempted to cheat on his wife? Seems likely.

Magic Hand manages to pull Becky back up onto the platform and they both start laughing uncontrollably. I get it, you almost died, except that you didn’t. It would be funny if only they still had a ladder to use to climb down, but Becks leans over and looks down, realizing they do not.

Oops.

And here is where we enter a whole new world of stupid. Because, as it turns out, neither Hunter nor Becky told anyone where they were going, or what they were going to do when they got there. Not even Danger D’s followers know where they are, because Hunter likes to record all the important segments of a new stunt and edit them all together before uploading, rather than upload each segment as she goes. Great job, Hunter. And yes I am putting more blame on you than on Becky because this was your stupid idea, and Becky hasn’t spoken to anyone for like a year so who would she tell? What does your Magic Hand have to say for itself now, DD? Maybe they can jump off and try to land on Dan’s ashes.

I’d also like to point out that it’s clear Hunter did not check out this tower before hooking herself to Becky and climbing up it, because even a perfunctory inspection would have proven that this structure is not stable. I mean, the camera showed us the tower’s flaws way before you gals passed Eiffel Tower height, so I think Hunter should have been able to detect them. If she’d bothered to look, that is. Which she didn’t.

Oh hey! It’s a real tower! It’s not called the B67 Radio Tower, but it is a real structure

Okay, so we’re 40 minutes into this thing, and it’s time to set up some complications for our climbers. Complications aside from being stuck 2,000 feet in the air, that is. Because just watching them try to climb back down wouldn’t be all that thrilling if they say, figured out some way to rappel down (wouldn’t they need a 2,000-foot rope though?) or did that thing lumberjacks do where they loop something around the tree trunk and scurry down to the ground.

Like this?

First, they realize their cell phones can’t get reception because they’re up too high (I tried to research whether or not that’s a thing but gave up). As previously mentioned, no one knows where they are. And if it wasn’t obvious from the photos, it’s worth pointing out that the tower is in the middle of the desert, with nothing around for miles. It’s also worth pointing out that this just confirms their stupidity in not letting anyone know where they are. Oh, and Becky’s tower tumble cut a huge gash into her leg that’s bleeding. Hunter has a drone, but the batteries have run down, and true to form Ms. D didn’t bring extras. But even if she had, the gals couldn’t get to them because Becky was wearing the backpack when the tower ladder collapsed, and it fell from her shoulders onto a satellite dish attached to the tower about 100 feet below. This also means they don’t have any water. I’m going to assume these dipshits didn’t pack any food.

So. They have no ladder, no drone, no cell service, no food, and no water. But hey! They do have some binoculars they find in an emergency box and exactly ONE flare loaded into a gun, so if any other human being decides to wander this far into The Desert of Nothingness they can get said human’s attention. Or maybe a spaceship will crash nearby and they can get the attention of the astronauts before they all convince themselves they’re on a foreign planet and kill each other for the supplies. Thank you, Twilight Zone.

Hunter uses the binoculars to spot an old camper in the distance. It looks abandoned. Try again, Hunter. She remembers that her cell phone was getting service when they were at the bottom of the tower before they started climbing. so they decide to tie her phone to the end of their rope and dangle it down as far as they can, after typing out a help message set to upload to her followers as soon as the phone connects. It doesn’t. Hunter decides to try and drop the phone lower by climbing off the platform and onto the tiny piece of ladder still connected to the pole, which is in no way going to make a difference, but it looks good.

It doesn’t work

Their next plan is to toss Hunter’s phone down to the ground since they know it got cell service when at sanity level. Of course, if they throw the phone from this height, it will just smash to bits – should we call that a preview? – unless they can reinforce it with something to cushion the fall. Is it too late to get Dan’s ashes back? Of course it is, so they decide one of DD’s useless Converse shoes can finally be useful if they stuff the phone into it. Now it’s time for more stupidity. Hunter takes off a Converse and starts to shove her phone into it, but Becky thinks it needs more padding and asks her to take off her sock too. Hunter’s face gets all panicked like it did when Becks asks her who the dude was with her in that picture she saw on Hunter’s phone, and she pauses a quick minute before agreeing to take it off. And if you don’t get how that means Hunter has a tattoo of Dan or at least something Dan-adjacent on her ankle then seriously, stop reading. I’m cutting you off. Becky suggests Hunter take off her ridiculous push-up bra and shove it in the shoe for even more cushion; Hunter agrees. We get this really cool tracking shot of the shoe as it falls; screenshots don’t do it justice but I tried. They can’t even see it hit the ground, so who knows if it worked or not. Oh who I am kidding, we all know it didn’t.

Now that Hunter’s shoe-and-sockless on one foot, Becky notices she has a tattoo – not on her ankle, more like on her instep, which is odd. We just have a second to register that the tattoo says “143” before Hunter exclaims that she sees a guy walking around at the base of the tower. Hmmm, where have we heard those particular numbers in that particular order before? And why didn’t Hunter just take off the other shoe so this little detail would never be seen? Maybe she has a matching one on her other instep. Whatever, Hunter. We’re not worried about that right now because there is indeed a dude with a dog walking around right below them.

Dude’s on his phone, talking to someone about mailing him a check. The girls start screaming, and while the dog hears them, the dude does not, and even after Becky throws both her shoes off the tower to get his attention he walks away. Sorry gals. That sucks. And now you have no shoes. All hope is not lost, though, because the dude and his dog apparently are living in that camper they thought was abandoned, along with another dude. Becks wants to shoot the flare right away, but Hunter rightly assesses that they can’t risk doing it until one of these guys is looking in their direction. And being a little darker outside wouldn’t hurt, either.

The girls engage in the least practical stakeout ever as they peer at the camper through binoculars from 2,000 feet, waiting for them to turn in their direction. Hunter is convinced the two dudes are lovers, which I can’t imagine would matter in this scenario. Gay or straight, they see the flare Becky shoots into the sky, so they leap into the camper and start driving towards the tower. They can, in fact, see them, as Becky and DD are going crazy, waving their cell phone flashlights into the air and screaming. Sure enough, the dudes are coming for them – except no. They’re just coming to steal Hunter’s car, seeing as being stuck 2000 feet up in the air diminishes the possibility of getting caught by the owners significantly. They rev up her SUV and drive off. Damn, that’s cold, my dudes. I hope you never get that check.

OK so, it’s nighttime, which is the perfect time for the movie to put us to sleep. It’s only been 55 minutes, so if they want to get this sucker to feature film length some more stuff’s going to have to happen. But the writers have stuck their protagonists on a tiny little platform 2000 feet in the air in the middle of the desert, so what else can they do except work in some silly emotional beats that don’t resonate at all. These characters are pretty one-dimensional to start with, so there’s no reason anyone would care about their relationship conflicts, but movie’s gotta movie, so here we go.

Somehow the gals have fallen asleep sitting upright with their backs against the pole. I guess Becky could do some pole dancing to spice things up, but hurt leg and all, right? Anyway, Hunter starts to roll off the tower in her sleep but Becky catches her, then tells her that Dan could never say I love you. What is this stupid trope? I know I’ve heard it before, and it’s ridiculous. Why would you marry a dude who can’t say he loves you? That’s clearly problematic. You’d almost think a dude who couldn’t say I love you to his wife might be cheating on her, which is why Becky says this to Hunter after we get another shot of her 143 instep tattoo. Hunter immediately cops to having slept with Danger Dan. Man, she cracked easily. Being trapped atop a 2000 tower really gets to you after a while, I guess. Bafflingly, Becky does not toss Hunter off the tower, but she does move to the other side of the pole so they are back to back. Heh.

But honestly, who cares about any of this? Dan was literally onscreen for like, 40 seconds before meeting his maker, and we saw nothing about Becky’s relationship with him to make us care at all about this situation. Hell, we know more about Becky and Hunter’s relationship than we know about either one of their relationships to Danger Dan, and we barely know anything about Becky and Hunter. How long have they been friends? How did they meet? Did they go to college together, or just pass each other on the way up a mountain? When did Danger Dan come into the picture? Who knew Dan first? Did Hunter and Dan sleep together before or after he married Becky? These things matter, folks, and we know none of it. Hell, we know more about the pole than we do any other character, so I’m Team Pole now. Go fight win, pole. We’re all rooting for you.

The sun has risen, and Hunter is explaining why and how she fell in love with Dan. I wonder if they’ve been having this conversation all night or if they’ve just picked the subject back up for some reason. There’s nothing all that unusual revealed here – she just couldn’t help falling in love with Dan – with Dan, for some reason – but when Becky asked her to be her maid of honor at their wedding she ended it. That – doesn’t seem soon enough, DD. She says she loved Dan, but she loved Becky more, and I can’t see how either of those things are any consolation to Becky now that she’s stuck up a pole without a ladder, so whatever Hunter. And for that matter, whatever Becky, because there is nothing interesting in any of this at all.

It appears the movie has wasted enough time, though, because Hunter decides to try and rappel down to the satellite tower and retrieve their backpack. Becky tells her it’s a bad idea, and Hunter pops off with “Maybe you’ll get lucky and I’ll fall,” which, way to make this all about you, Ms. Passive Aggressive. She ties one end of the rope to the tower pole, then lowers herself down off the tower while holding on to it. I don’t think there’s any maybe about this, Hunter. You are definitely gonna fall.

AAHHHHHHH

Except she doesn’t. She somehow makes it down to the satellite dish and leaps onto it without either her or the dish falling to the ground.

And again: AHHHHHHHHHHHHHHH!!

See what I mean? No matter how lame and plot-holey parts of this movie might be, shots like this will always give you the willies. So good job, movie. More of this, less of relationships with Dan, please. Speaking of plot holes, here comes one of my favorites: Hunter makes it onto the satellite and retrieves the backpack. But oh noes! The rope is too far away for her to reach it and climb back up! Never mind that Becky could clearly just MOVE THE ROPE OVER TO WHERE HUNTER COULD REACH IT. Nope. Hunter ends up having to do all sorts of acrobatics here to get the backpack and herself back up to the platform because Becks is either too stupid or too pissed at her to just swing the damn rope closer to the satellite dish. I mean, I am not a climber but even I could figure this one out.

Oh, if only there was some way I could reach it…

We go through a whole thing where Hunter has to get the backpack hooked onto the rope and then she has to do this Cirque du Soleil-style leap to grab onto it herself, but of course, she eventually pulls this off. Speaking of, imagine how cool this movie would have been if Hunter and Becky had been Cirque du Soleil performers. They’d totally be on the ground by now. Oh, who am I kidding? Clearly, they would both be clowns.

Yep, she really does this.

Now it’s Becky’s turn to access her superhuman strength to pull Hunter, and the backpack, back up to the platform. She almost does it too, except at the last minute Hunter’s foot slips, and she goes hurtling back down. Did she die? Of course not. She’s still at the end of the rope, but now she’s sitting on top of the backpack, having ripped open her palms in the fall. Becky now has to pull Hunter back up on her own, as she sits on the backpack because Hunter can’t use her hands anymore. You know how this ends. She pulls it off, and Hunter is saved. Okay, movie. It was way more fun than watching these two talk about how much they loved Danger Dan, so I’ll go with it

Now they have water, and Hunter’s drone. This is where we find out Hunter didn’t bring extra batteries, so way to go Hunter. If only they had a way to charge the drone back up again…

There’s a dream sequence that doesn’t matter so I’m skipping it, except to say there are vultures. Or maybe they’re buzzards -I don’t know shit about birds. This might be important later. The next morning they realize they can probably use the big blinking red light at the tippy top of the tower to charge the drone, you know – just like Hunter showed us back in the diner! So now Becky has to crawl her skinny ass up even higher – I mean, however high it is, it’s more than 2,000 feet so does it even matter – so she can take the light bulb out and stick the drone charger in there, and hold it in place while the thing charges. I mean, bitch doesn’t even have shoes at this point, but whatever. She somehow pulls herself up there, with Hunter encouraging her by singing – you guessed it – Cherry Pie, and apparently, this big-ass tower with its big-ass red light just has a regular-ass old light bulb in it that she can take out and use the base as a charger. That seems improbable, but whatever. It works. Later, seventeen planes crash right into the tower because Becks took the bulb out. Hey, let’s watch that movie!

Before the drone fully charges, a buzzardy-vulture-ish creature starts whacking Becks with its claws, because of course it does. It’s actually – kinda funny. Unfortunately, Becky learned nothing from the time she lost their backpack when the ladder went all un-ladderish on her, because she’s carrying it again, and the devil bird manages to knock it off her shoulder. Down it goes, right past Hunter, who just – stands there and watches it fall. It literally flies right past her, and Magic Hand could have grabbed that thing in an instant, but she doesn’t even try. What gives, Hunter?

Becky fights off the demon bird somehow, gets the drone charged, and shimmies back down the pole (Cherry Pie, indeed) so they can attach an SOS to the drone and send it flying in the hopes of it reaching the hotel where they stayed. You know, down in that tiny little toy town. As soon as Becky is back on solid platform she asks Hunter why she didn’t catch the backpack, but before Hunter can totally not answer her at all, Becks barfs over the side and the moment is forgotten. They need to get a message down to Tiny Town pronto. We’re an hour and 24 minutes in, so this could be the thing that really works – except the dumbasses fly too close to the street as it reaches the hotel – and crunch. A truck smashes it to pieces. Damn, these two have the worst luck ever.

It’s getting dark, and Becks is losing energy along with her last vestiges of hope. She wants to sleep. She doesn’t think she can make it through another night. Hunter, who seems in much better shape than Becky at this point, tells her not to talk like that. Nonsensically, she tells Becky she needs to eat something. Yeah, no shit, Hunter, but what is she supposed to eat? Hunter tells her there’s always a solution, and clearly no, there’s not, but Hunter warns Becks that she can’t fall asleep because the demon birds can smell her rotten leg wound and are just waiting to pounce on her. I don’t know if this is how demon birds actually work, but hey, something’s gotta end these two at some point so fine. Still, Hunter is acting peculiarly calm right now. Becky says they should try to drop her cell phone, which has yet to run out of battery life somehow, and asks if they can use Hunter’s other shoe to cushion it. Hunter says she can’t, because her other shoe isn’t up on the platform. Becks is confused. What do you mean? It’s right there on your foot. Except that Hunter’s foot isn’t on the platform. It’s on the satellite dish below, where the rest of Hunter’s dead body is. Dun-dun-duhhhhhhn!

Ghost-Hunter (heh) tells Becks that after she retrieved the backpack from the dish, then slipped when she was almost back to the tower, Becky did not, in fact, save her by pulling her back up while she sat on the backpack. What really happened is that Hunter fell all the way back onto the satellite dish and bled out, She even asks Becky if she really believed that she was strong enough to pull Hunter all the way back up on her own, to which I say, good point, Hunter. Finally, someone realizes the implausibility of all this. Becky freaks out, rightly so, and as Hunter’s voice fades out for good she says that Becks was too afraid to admit to herself that she was all alone, so she hallucinated Hunter still being alive. This is a silly plot twist that was in no way needed, so that’s all I am gonna say about it. Moving on.

Now it’s dark and windy and thundering, and Becky’s hanging on to that pole for dear life. Cherry Pie, Becky, Cherry Pie. She pulls a Blair Witch and uses her iPhone with it’s Miracle Battery to record a goodbye message to Dad, since she’s clearly gonna die up there now. It gets confusing at this point, because as Becks is recording this message it cuts to her father, trying to text her on his phone, and it sure looks like he is listening to the message Becky recorded. Maybe Dad is hallucinating too? No, the movie is just showing us what Dad is doing at the exact moment Becks is recording her message, but it’s still confusing.

Cut to the next morning, and Becks is looking a lot like someone who’s been stuck atop a 2,000-foot tower for days. In other words, she looks dead. A vulture agrees, and settles down to munch on her leg wound. Nom nom nom goes the vulture. Oh hell no, goes Becky, and she and the vulture engage in a battle of the wits and wings. Once again, it’s pretty funny. There’s no way to fight a big ass bird and not look ridiculous, it seems. But Becky wins the battle, breaks the bird’s neck, and then turns the platform on it by eating the damn thing raw. Ew. I feel ike this should at least make her a little queasy if not downright ill, but no, Dead Buzzard gives her more energy than a Red Bull (how can they have not made that a marketing drink? Dead Buzzard! More Energy Than a Cherry Pie!) and Becky is officially OVER this fucking tower.

Looking every inch like the buzzard-eating badass she is, Becky pulls her hair back, hooks herself to the rope, and lowers herself over the side of the platform. In spite of all the silliness this movie contains, I think the actress really nails this scene. If only she’d nailed the ladder to the tower better none of this would have been necessary, but then we wouldn’t have been able to see Becky really take her power back. and haul herself down to the satellite dish where Hunter’s body is.

Yaasss Becky! Do that thing!

The music crescendos as Becky rappels down to the dish and unhooks herself when she runs out of rope, landing next to Hunter like she’s been doing this shit all her life. I’m inspired in spite of myself – how can I not be? Bitch just ate a raw bird and slid 100 feet down a 2,000-foot tower in the blink of an eye. Give us more Becky! There’s a vulture on the dish that is not pleased Becks interrupted its dinner. Becky looks it square in the eye and stares that fowl down, and the vulture dips. That chick has vulture blood dripping down her chin, man. I ain’t messin with that.

Becky holds Hunter’s dead hand for a while and I gotta say Hunty doesn’t look all that dead to me. What if Becks is hallucinating again, and she’s really cuddling a dead vulture? But we know she is not, because she types out a text to her dad telling him where she is, yanks off Hunter’s other shoe (I was half expecting Hunter to have a tattoo of her Dad’s face on her other foot, but no) and then – to be sure her phone makes a soft landing – she shoves the shoe all the way down into one of Hunter’s flesh wounds – and shoves that chick right off the satellite dish. Sorry, Hunter, she tells her, but I have to be sure this message gets through. The new iPhone 17! It sends texts through human flesh! But also, you cannot convince me a little part of her did not enjoy doing that. Bye-bye, Hunter. Tell Dan I’m not afraid of living.

Sorry Hunter – but you gotta goooooooo

Then the satellite dish gives a sickening lurch, just to remind us that Becky is still most likely as good as dead. And then the movie makes the weirdest choice. We cut from that to Becky’s Dad, driving like a bat out of hell through the night. He drives past the Tiny Town Hotel and the smashed drone. Ooooh, maybe he’s gonna have to climb up to the satellite and get Becky down! How cool would that be? But no – he approaches the B67 tower and there are flashing lights and helicopters all around. Aw damn, Dad doesn’t get to play hero? But still, watching a helicopter lift Becks off that tower will look really cool. Except – no. Dad gets out of his car, and there’s a dead body on the ground covered with a sheet. I think the movie is trying to trick me into believing that this is Becky – clearly, that is what Dad thinks – but I never thought it was anyone other than Hunter. I mean, this movie is NOT going to deprive us of the moment Becky gets rescued off that tower, is it? Except yes, it is.

Just as Dad is about to lose his shit, we hear Becky call out to him. She’s sitting in an ambulance covered in a blanket. Um, yay? She’s alive, and while Dad is happy, I can’t help but feel let down. How could we not see Becky’s rescue at all? Is it just to give us a cheap half-second of thinking she’s dead like her father does? That’s all I can figure because otherwise, the choice makes zero sense. Becky runs into her father’s arms, tells him she is going to be okay, and as Hunter’s body is carried away, we hear her voice repeating her inspiring speech about how life is short and blah blah blah. I don’t like this choice either. It should have been Becky’s voice we hear in those last movie moments, not her cheating friend who carelessly led her up a tower and almost got her killed. Wrong move, movie. Wrong move.

But yay for Becky anyway. I mean, the movie didn’t give her the full resurrection she deserved, but she made the most of what she did get. Now I just want to see her hunt down those guys that stole Hunter’s car and beat their lousy asses.