The Outwaters takes its sweet time getting to its desert freakout, but there's a heart-stopping oasis amid the boredom. JacobOller's review:
There’s a Flash-based prank, called the Scary Maze Game, where you move your cursor ever so delicately along a winding path—careful to avoid its edges—until a fully demonized Linda Blair bursts onto the screen, accompanied by a headphone-frying scream. Gotcha!is less interested in getting us to jump, but it directs our attention and sightline with a similar intensity and purpose that can feel just as calculating and just as fundamentally effective.
It’s a friction produced by wanting to be both epistolary—made of documentation discovered and assessed after the atrocities—and vital, in-the-moment, embodied horror. Two approaches to realism collide, ironically drawing more attention to their production. But when Banfitch’s horror auteurism shakes free from the framing restraints of its subgenre, its painstakingly curated sensory experience ravages you.
When the group finally gets to the Mojave, the constant shooting finally starts to make sense, if only because Banfitch gets to take advantage of the otherworldly environment that begs to be documented. Donkeys and snakes, bumpy roads, distorted radio signals, isolation, wind, thunder —there’s no place like the desert to bring us closer to a new plane of existence. Yet, there’s not much subtext to be had out of its white quartet’s retreat—especially compared to other genre touchstones.
Banfitch thoroughly controls his frame and our attention within it, wielding the blunt weapons of absolute dark and a desperately searching circle of light. Robbie’s tiny camera penlight is our lonely cursor on the black screen, and every second it spends not revealing a jump scare makes its Maze Game scarier. Whenis at its best, it’s like we’ve accidentally stepped off the planet, left behind in starless space.
Even when Banfitch’s roving light loses its immediacy, eventually dragging its horror peep show on so long that we lose our curiosity as to what lies beyond its borders, it’s because it once held us so deeply rapt. The filmmaker’s best ideas work so well thatanthologies, leaving us shellshocked by unanswered questions . But asked to support 100 minutes, Banfitch’s ideas—not abilities—peter out.
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