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After 2007’s Paranormal Activity - another indie that found wide appeal - and 2008’s Cloverfield, when found-footage colonized studio filmmaking, the technique began to descend into trope-hood, then cliché, and has now infected many a movie that has mistakenly believed that technique is story. Now, this movie was not the first to utilize faux found-footage, but its enormous mainstream success ensured that the conceit would be imitated. There was no Wikipedia, and if you wanted to search, you Asked Jeeves, and he wouldn’t have found much to help you authenticate or debunk a maybe-fake, maybe-real “documentary.” The Blair Witch Project truly looked like it was what it purported to be, and - difficult as this may be to believe, my lovelies - the Internet had not yet become the repository of all human knowledge that it is today. This illusion was aided by the movie’s Web site, which featured “evidence” such as police reports (which were fake but plausible), and by clever marketing that included missing-person posters of the three “filmmakers.”
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The effect was so convincing that millions of people actually believed that it was a real documentary about an authentic legend, that the three young people had gone missing in the woods, and that their equipment and the footage depicting the horrors that befell them (the witch ain’t no legend!) had been found a year later. Way back in the 20th century - 1999, to be precise - a couple of indie filmmakers called Daniel Myrick and Eduardo Sánchez came up with the truly brilliant idea to make a movie on an ultra-low budget by giving cameras to three actors and setting them loose in the Maryland woods to improvise a “documentary” around an invented backstory about a search for the “true” story of a legendary local witch. Oh, not the story in the film but the story of the film. You can follow cinematic randomness on Twitter and Facebook where you’ll find all my cinematic exploits.Gather round, kiddies, and hear the tale of The Blair Witch Project. For its relatively short runtime, the film manages to mildly entertain, although the emphasis on mystery and ambiguity that made The Blair Witch Project so great is sorely missed. Judging by the mixed reactions of the movie-going public, Blair Witch will likely sail from our collective minds as quickly as it arrived, only to perhaps entice a few revisits upon its eventual release to home media. Disappointingly there was no connection to any of the characters due them being little more than mere one-dimensional archetypes typical in many of today’s horror movies but some fleshed out personals for the audience to get behind would have improved the viewing experience considerably. This technical aspect is impressive at first and is effectively giving the viewer a firsthand perspective during some of the film’s intense moments, but some restraint in this field was needed.
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The versatility of today’s audio and visual gadgetry is on full display, complete with drone shots and almost every character being wired for sight and sound. However, I was intrigued by the setting’s ominous distortion of reality, echoing back to its predecessor which took a far subtler approach. While treading over the same ground both figuratively and literally, there are few very surprises and scares in this modern sequel. Ignoring the events of Blair Witch 2: Book of Shadows much like how we try to ignore a persistent toothache, Blair Witch serves a soft reboot of the highly publicized original in which a group of friends venture out into the notorious Black Hills forest in search for the presumably dead sister of the party’s leader, James, after a mysterious viral video surfaced online. In an age where the lead up to a major release can sometimes exceed 12 months, it feels like Blair Witch almost came out of nowhere, and has already begun its departure from my short term memory, which I suppose is a statement right there.