#found-footage

#found-footage

I.C.E. agents are horror fans too, right? It seems like you'd have to be to voluntarily risk your reputation for a hobby most famously associated with slasher villains. Sure, there are the red-blooded Americans who say they joined up to salute a bigoted version of Superman that never existed. But when I want to talk to Dean Cain, I prefer walking directions to the most publicly pathetic man in Las Vegas.

I mean, Texas Chainsaw, the shining yeah, it's boring, but yeah. No, it works every time. Oh a third. Well, I'm going to do mine. I'm going to think of my third. You can think of a third. Demon lover diary. Oh, Wow. From 1980, 1981. Like, truly one of the scariest movies I've ever seen. Because we and the audience are led to believe this is a found footage horror movie.

Scary found-footage movies can and do get better than this enthusiastic DIY horror from married-couple directors Rachel Kempf and Nick Toti. Their zero-budget feature is fun for a while, but in the end it's just not scary enough. There is nothing to make jump out of your skin or frighten you out of your senses. Kempt and Toti also star in the film, playing fictional versions of themselves: Rachel and Nick, horror-obsessed film-makers living in Kirksville, Missouri.

Ken Jacobs was born in Brooklyn on May 25, 1933, to divorced parents. His mother, an artist, died when he was seven, leaving his father, a former minor league baseball player, to raise him. Jacobs graduated from the City University of New York and, following a two-year stint in the Coast Guard, briefly studied painting under Hans Hofmann. A frequent attendee of Cinema 16, which regularly showed avant-garde works, he turned his Modernist-trained eye toward creating what he would describe as 'Abstract Expressionist cinema.'

For those of you who have responded negatively to this initiative, thank you for confirming the need to support the voices of those who merely wish to exist without discrimination. I'll see you at the movies!

Amazon Prime's latest movie could so easily have been a modern take on H.G. Wells' all-time classic novel, employing found footage and gonzo documentary-style reporting to revive the spirit of Orson Welles' notorious 1938 radio production of the story.