The Houses October Built Is A Great Title In Search Of A Deserving Movie.”
Can we stop with the found-footage movies already? Every since The Blair Witch Project started the trend in 1999–16 years ago–studios have been churning them out left and right.
And there’s a logic, the most crucial point being that they’re relatively cheap to produce. I mean, if a studio spends $4 or $5 million producing one, and ends up earning somewhere in the ballpark of, let’s say, $50 million, it’s a huge profit for minimal investment.
Or let’s say the movie flatlines at the box office? You’ve invested relatively little, so your losses are minimal as well.
After all, it’s the strategy that built Blumhouse Pictures.
Though I think that the whole point of such movies is that they’re supposed to make you feel as if you were somehow part of what’s unfolding on screen, which is a good time as any to take another look at the source of the infection, so to speak.
One reason The Blair Witch Project worked so well was that viewers had seen nothing like it before, though despite what one may think, there was some astute decision making going on. In many instances the camera moved about so quickly that you couldn’t tell what was going on, though when combined with lighting that shifted unpredictably, odd sounds and ambient noise, it felt genuinely scary despite there that often wasn’t all that much actually happening–though you couldn’t tell even if there was.
Which is disconcerting, though the thing is, you can only do that so many times, which is probably why the sequel, The Blair Witch 2: Book of Shadows, was shot in a more traditional fashion.
It was also a flop in the theaters (which I never quite understood. It’s by no means a terrible movie, and unlike the original, it made in a more traditional fashion).