directed by lucky mckee
modernciné
Okay. Well. The sequel to the previously discussed paragon of benevolence and good feelings Offspring, this lighthearted jest manages to outdo its predecessor in casting aspersions on the boundaries of human behavior. And that’s accomplished long before the revolting gore brightens things up. Starting its bleak portrayal of life in human society limning a few quirks and oddities, gradually revealing more depravity layer by layer and eventually producing complete incredulity, this movie is a skillful demonstration of how to achieve perfection in the art of shining a light on things your audience probably would have felt better never, ever seeing. A true sickie, horrible in almost every way by textbook definition.
why did i watch this movie?
I had been reading admiring takes of the strong responses this film provoked since shortly after its release.
should you watch this movie?
This celluloid entertainment is rife with distasteful orientations, taboo topics and inhumane actions. It is fairly unflinching in its depictions, and occasionally seems as if it may be attempting to inject inappropriate touches of humor.
highlight and low point
Given what happens during the course of events in this picture, I am reluctant to endorse anything too enthusiastically lest I invite uncomfortable questions about my attitudes or opinions, but I will say I was impressed how the filmmakers handled their biggest obstacle – which is more or less the central focus, the captivity of the titular character in an outbuilding on a family’s rural estate. (Hint: this is how they lead us to a series of slowly dawning revelations.) The ending is a bit too pat, but after everything else that’s happened, it makes little difference. In a way, it even may underscore a certain sense of helplessness.
Despite being a “found footage” tale of a largely unknown or unseen threat producing psychological torment in a five-person crew in heavily forested mountains – and with passages that directly reminded this scribe of scenes from both 2014’s Backcountry and the excellent Bob Goldthwait-helmed Bigfoot adventure Willow Creek from 2013 – this French film is often rather effective, especially as the plight of the principal female protagonist spirals out of control. The fact that no attempt is made to tie up any of the loose ends of the exposition is also a plus, aiding as it does the documentary conceit. Even the fact that the main antagonist is somewhat less impressive than presented, even underwhelming, is forgivable – until it begins to seem a bit silly. Eventually one concludes he or she has seen all this before. Which is a bit of a shame, because this is a skillfully made movie. It just doesn’t quite deliver on its promise.
SPACE RATS From Outer Space 