Film Fests
UFF9: ‘Frogman Returns’… and Still Fucks
Three years ago, I requested a screener during the Popcorn Frights festival for a wonderfully titled film called Frogman. As someone who loves found footage AND cryptids, everything about it seemed right up my alley. Cut to now; I sit at my desk with my Frogman Point brochure, a Loveland, OH postcard next to it, all while drinking coffee out of my Frogman mug. Thanks, Terror Vision! Frogman quickly became a film that shot to my overall top 10 list, and hopped into my found footage top 5. When I heard that Frogman Returns was going to be playing at UFF9, I was prepared to beg on my knees to get a chance to see it.
Frogman Returns: A Cryptid Horror Sequel Worth the Hype
Frogman Returns is set a year and a half after the events of Frogman (if I’m doing my math correctly). Dallas Kyle’s (Nathan Tymoshuk) success from his hit film was great for him, but not so much for Amy Mathison (Chelsey Grant). While filming an episode of his new reality show, Chasing Cryptids with Dallas Kyle, Dallas gets some concerning news. Along with cameraperson Lucy Campbell (Natalie Olivia Tran) and his producer Bridget Sauer (Alexis Allotta), Dallas finds himself heading back to the one place that started (and ended) it all: Loveland, Ohio.
Remakes and sequels have slowly become a scourge on the genre. Along with myself, horror fans have begged filmmakers and studios to push out new and interesting original products to satiate our need for frights. Occasionally, some films truly deserve sequels. Frogman was one of those films. Co-writers Anthony Cousins and John Karsko, and director Anthony Cousins, created a truly captivating mythos around one of our favorite slimy cryptids with Frogman. Cousins and Karsko gave us enough hints and story beats throughout the first film for us rabid fans to fill in the gaps. But damn if I’m not chuffed to bits that we get some solid answers to the unresolved questions from the first film.
With A Stronger Script, Frogman Returns Comes Out Swinging
Frogman Returns comes out swinging with a more well-rounded script from its predecessor, without necessarily feeling overwritten. Found footage has long had an issue with over and underwritten scripts. Some even fall into harsh improvisation, putting all the work on the actors and not the writers. In this case, Frogman Returns hits us with a deeper script that somehow feels completely in-universe. Frogman has a more purposefully slapdash feeling to its script, while Frogman Returns creates a warm, welcoming environment that slowly devolves into literal madness. Cousins and Karsko bring more agency to our intrepid leads, which creates many moments of pure magic.
Dallas has all he ever wanted, but he can’t find his happiness. Bridget is a velvet tracksuit-clad producer who seemingly always finds her way into the shot. Lucy is a genuinely sweet and ambitious explorer (and camera operator) who just wants to find her place in the world. While the film starts slightly hectic and begins to feel like an ensemble piece, it quickly turns into a very intimate exploration of the pain and sadness that two of the three characters carry. The missing presence of Chelsey Grant and Benny Barrett (Scotty) is definitely felt pretty early on, but Nathan Tymoshuk, Natalie Olivia Tran, and Alexis Allotta absolutely shine as a trio. There is a point in the final third of the film where it starts to feel a bit too crowded, though its necessity outweighs its slight con.
A New Visual Style for Found Footage Horror
Gone is the gritty style of Frogman, as Frogman Returns takes on its production through the lens of Dallas’ reality show. As much as I love found footage, I am far from a purist. The clean(er) visual style of Returns works incredibly well and is a nice change from the Hi8 feel of the original. Though down-and-dirty found footage fans might take slight issue with that change.
Ryan Schaddelee and Beki Ingram excel not only with the Frogman practicals but also with the SFX work in general. One of the greatest aspects of Frogman was how gnarly the Children of Frogman looked, as well as the other practical effects. Thankfully, Frogman Returns comes back five times as hard with its overall practical designs. On top of that, well-handled digital effects work goes hand in hand with practical effects that help create cohesion and fluidity between them.
A Wild Final Act That Will Surprise You
Don’t worry, no spoilers here! Now comes the elephant in the room. Or, should I say, the Squonk in the room. Frogman Returns asks a lot from its viewers. Its final act is downright bonkers. I know that’s not really a professional way to describe a film, but it’s the best word that comes to mind. Cousins and Karsko have a gigantic, “trust me, bro” moment in the final act that blew my mind in the best way possible. Genre fans constantly complain that films don’t take big enough swings, or that sequels fail to find the magic of the original. I promise you, if you trust Cousins and Karsko to take you for this ride, you won’t be let down. By the time you get to that point, the bases are loaded with two outs at the bottom of the ninth; Cousins and Karsko hit a grand fucking slam.
Frogman Returns delivers the goods in a slime-covered basket. Cousins and Karsko have taken a fairly underappreciated cryptid and made it a [horror] household name. While it’s hard to be surprised by films when you watch them for a living, Frogman Returns is a portal to a new dimension of horror.
Frogman Returns Delivers Bigger, Better Cryptid Horror
Welcome to slime time, bitch. Frogman Returns is unapologetic and takes no prisoners. This film does what a sequel should do: build on the lore with bigger, better, and badder stakes. When I watch films at festivals, I typically wait 24 hours to let the film sit with me so I can fully hash out my thoughts (and because I have a Steam Deck and like to procrastinate). The second that credits rolled for this film, I opened Google Docs and put my nose to the grindstone. Frogman was in my top three for 2023, and Frogman Returns exceeded all of my expectations. Let’s all keep our fingers crossed that Terror Vision releases another banger collector’s edition of this one.
Frogman Returns screens at Unnamed Footage Festival Vol. 9 on March 27, and you don’t want to miss this one.
Anthologies sit firmly next to found footage as my favorite type of horror content. It doesn’t matter whether they come together or stand alone. There are many franchises/heavy hitters over the past twenty-ish years. But to me, none have been as impactful as V/H/S. That is, until V/H/S: Viral. But that’s a story for November. V/H/S I & II had begun to set up this weird and wonderful connected world with rules. Watching certain tapes in a row seemed to summon something. By the time the third film came out, all hopes of world-building had gone out the window. This left the later films to be a mishmash of whatever anyone wanted. When I watched Final Transmissions for GenreBlast X, I felt something I hadn’t felt towards an anthology since the first two V/H/S films: craft, ingenuity, drive, hunger, passion.
Final Transmissions is the latest in anthology television that blends singular stories into an overarching narrative. While only having seen the first three episodes, Final Transmissions has set up this gorgeous world of terror that is already starting to pay off through the series’ wraparound. Hosted by Richard Slate (Brian Villalobos), Final Transmissions is a strange public access show from the eve of the year of Y2K. Lost to time but now found, Final Transmissions is amalgamated from the raw footage provided to a group of filmmakers. What transpires over the first three episodes is truly… otherworldly. The latest project from The Horror Hippies, Steven Hugh Nelson and Erica Nelson, comes a transmission that I hope is not final.
Doctor Midnight (S1E1)
Written/directed/edited by Steven Hugh Nelson
A man (Steven Hugh Nelson) heads to an abandoned hospital to conjure, and hopefully destroy, Doctor Midnight (Steven Hugh Nelson ((and Erica Nelson per IMDb))). Doctor Midnight was an evil doctor who would record his patients moments before their deaths. Unfortunately for the man, Doctor Midnight still lurks in the shadows.
Never have I felt a segment in an anthology that felt like it perfectly belonged alongside segments from the first two V/H/S films. That’s not to say Doctor Midnight can’t/shouldn’t exist on its own merit. But this episode of Final Transmissions makes me feel the exact way I felt when first watching V/H/S. There’s a rawness to Doctor Midnight that lends a unique authenticity to the episode. I also think I may be partial to Steven Hugh Nelson’s overall style. His feature directorial debut, Old Wounds, was stunning and Doctor Midnight just proves that Nelson is a master of found footage.
Setting The Stage
Doctor Midnight sets the stage for not just what’s to come regarding the segments, but what the overall story may plan to be. Richard Slate ruminates on what technology could/would be; a running question is can technology actually curse people? The wraparound story, titled The Broadcast, which is also written/directed/edited by Steven Hugh Nelson, is subtle but perfect. Richard Slate’s character slowly morphs into someone different within the first episode, but Nelson’s writing handles it with absolute class.
Nothing is over-the-top or hammered into your head. Rather, Steven Hugh Nelson weaves tiny supernatural elements and details into the story; it edges the audience to the tip of terror and delightfully plays with the audience like a cat with a mouse. This leads to multiple standout moments that are insanely impactful. And we’re still just on Episode 1!
You Were Never Alone (S1E2)
Written/edited by Michael J. Epstein // directed by Sophia Cacciola & Michael J. Epstein
Mikey Adams (Fayna Sanchez) is an astronaut who is alone on a spaceship. Mikey’s co-astronauts, Robert Torres (Charles Chudabala) and Sally Clark (Maiya Reaves), are on the moon. Their only communication is via radio. But they’re not alone. They were never alone. It’s not long until Mikey learns that there are some things that should be left alone.
Found footage, especially in anthology formats, lends filmmakers a chance to explore. Us fans of the subgenre can accept faults in many aspects because it’s, overall, the most budget-friendly way to make a film. Unfortunately, found footage has been having some difficulty with stepping out of the norm recently. You Were Never Alone not only tells a fascinating story, something that found footage also struggles with, but it tells a story so stylistically different that it shouldn’t work. Somehow it works too well.
The Pontypool Of Found Footage
There will only ever be one Pontypool. Sorry to break that news. The way Tony Burgess makes a single location utterly terrifying could be its own college course. You Were Never Alone takes Final Transmissions to a whole new level. Michael J. Epstein’s story is not only fascinating and well-written, but it is a stunning single location, static shot episode. Unless I’m misremembering, the viewer is locked into a single angle the entire episode. Seriously…how does it work so well!
When you think of co-directors, you probably think of something that’s grander in scale. Knowing that this episode is directed by TWO people is shocking. One person making something that is this reserved is tough. Two people making something like this? Astounding. You Were Never Alone slowly creeps its way into your soul; existential dread has nothing on this episode. Moreover, this episode expertly ties into the overall story of Richard Slate’s questioning of whether or not technology can harness supernatural powers of sorts. You Were Never Alone may go down as the most impactful film (episode) I’ve seen in 2026.
Bethel Hill (S1E3)
Written/directed/edited Alex Hera
Vivienne (Cassidy Terracciano) finds herself stuck in a Jesus-like cult, set deep in the woods. Along with Silas (Andrew Dobbie), Vivienne attempts to locate a anomaly they have recently seen. But that anomaly may be something more than anyone could think. Can Bethel Hill survive this onslaught of terror?
If Ethel Cain made a horror film, it would probably be Bethel Hill. It’s Ptolemaea incarnate. While the previous two episodes of Final Transmissions have a healthy dose of film grain, Bethel Hill feels truly gritty. There’s a deep reflection on religion and the human experience that someone smarter than me could flesh out better. Bethel Hill intersects on conversations of drug abuse (a mysterious blue powder), religion, sex, and death. At points it does feel like Alex Hera slightly bites off a bit more than they can chew, but the overall experience of Bethel Hill is transcending.
A New Kind Of Horror
Alex Hera tackles a very niche subgenre of horror only really touched upon by Supernatural. I won’t go into too much detail because Bethel Hill is a truly unique experience. But there’s a creature used as the episode’s conduit for horror that I haven’t [ever] really seen utilized in horror. And when it has been utilized, it wasn’t super scary. Bethel Hill offers a truly horrifying gut punch of terror that expands upon the unique world built within the first two episodes.
There’s a moment in Bethel Hill that gave me goosebumps in a way no film (or episode) has in a very long time. Those who have seen the episode will know what I’m talking about (when it starts to run next to Vivienne!). Typically, the middle parts of an anthology are reserved for the lesser of the segments/episodes. Bethel Hill breaks that issue of anthology series low points in an ungodly way. Even if there are some moments that feel a bit too talky, Bethel Hill is a tour de force of horror.
What’s To Come For Final Transmissions?
Final Transmissions has already proven itself to be an industry shakeup. And it brings us back to my first point regarding V/H/S. None of this is to pit anyone against anyone. But as a huge fan of anthologies and found footage, I couldn’t help but feel hurt at how those behind V/H/S gave up on cohesion. Final Transmissions makes me feel hopeful. And scared. But particularly hopeful.
The Horror Hippies have brought together a group of respectable, hungry, ambitious filmmakers who have proven themselves to be genre powerhouses. Alex Hera’s episode was a perfect exclamation point to the first three episodes. To say I’m drooling at the opportunity to see the next three episodes is an understatement. Final Transmissions is a groundbreaking anthology series that has dug its tendrils deep into my soul. And it will to yours, too. Until the next three episodes, I’ll see you in the static.
It’s very interesting when critics cover Part # of a franchise without having seen the previous entries. I’ve personally seen critics who flat-out say that Part 2 or 3 doesn’t make sense without having seen the previous film. And therein lies the problem: film critics who refuse to admit they haven’t seen EVERYTHING. But does the hard work rely solely on the film critic (or the general viewer)? Should a sequel (or third in a trilogy) drop in heavy context clues for someone who is just now tuning in? I think the answer falls somewhere between those points. Of the many reasons, that is one of the main reasons I was able to enjoy The Barn Part III so much. Let’s dig into it.
Some time ago, Pastor Josh Harper (Courtney Gains) assumed he had rid the world of evil. He was dead wrong. Well, hopefully just wrong. His nephew Kyle (Tristan Olsen) and friend Megan (Amanda Byrne) accidentally re-unleash the evil; Josh must attempt to vanquish it. Again. There’s just one big problem…the Fall Festival is going on, and damn near the entire town will be in attendance. What can go wrong?
Can You Review PT. 3 Without Seeing PTS. 1&2?
Before we really get into it, I think we should jump back to the point I was making in the intro. I have seen tons of posts, screenshots, and scenes from The Barn franchise over the years. For some reason, I’ve never gotten around to seeing the films. So there was a sort of internal struggle when deciding whether or not to cover The Barn Part III. Would I watch it just for fun? What if I didn’t like it? Sure, I could review the film on its own merits, disregarding moments that don’t make sense to a first-time viewer. But that felt disingenuous. After writing a weighty pros and cons list, I figured, what the hell. Let’s give it a watch! It turns out that was the right decision.
Co-writers Justin M. Seamen and Zane Hershberger do an excellent job of balancing fan service and, surprisingly, first-time viewers. There are definitely moments where I felt a bit lost, though I was able to put the pieces together based on context clues after sitting with the film for a few hours. By the time the credits rolled, I felt like I saw enough (as a first time viewing of the franchise) to understand how we got to this point in the franchise. Moreover, it made me more motivated than ever to go back and watch the first two films. If The Barn Part III is this gory, then I can only assume there’s a similar level of gore to the first two.
Strong Script, Stronger Kills
Hershberger and Seamen tell a tale that’s not overwhelmingly original; evil is raised and must be stopped by the good people. It’s a race against the clock, fast-paced creature feature/slasher. It’s hard to really reinvent the wheel there. And somehow, Herhshberger and Seamen manage to make you feel like you haven’t really seen anything like it before. Even during moments of slightly cheesy dialogue, the script’s tone stays beyond consistent that it just all feels right. To me, that feels very rare in this subgenre of film. Rather than being nothing but conduits for buckets of blood, the characters in The Barn Part III exist within their story purpose while still feeling fully fleshed out.
Much of The Barn Part III’s enjoyment comes from the delightful performances of the film’s lead cast. Courtney Gains takes the reins from Will Stout as Josh Harper, and Gains is wonderfully charming. Much of his screen time is shared with Night of the Comet’s Kelli Maroney, who is still an absolute blast to watch on the screen. But it’s one of The Barn Part III’s co-leads, Amanda Byrne, who steals the show. It’s hard to believe this film is Byrne’s debut feature acting role. She really gives it her all, and you can feel it through the screen.
The Barn Part III Is a Practical Effect Gorefest
Enough edging. Let’s get into the actual meat and potatoes of The Barn Part III: the kills. Simply put, Justin M. Seamen and Zane Hershberger struck gold. I’ve seen way too many slasher films/creature features, so this isn’t hyperbolic…The Barn Part III has some of the most insane, captivating, and bloody kills I’ve seen. Especially for an indie film. Whatever the budget was, the film looks like it was more expensive than that.
I have a feeling that there is a heavy crossover between fans of this franchise and Joe Bob Briggs, so let me put it to you this way. The Barn Part III has it all: bisections, dissections, full-body degloving, mini killer pumpkins, pitchfork-fu, shotgun-fu, vine-fu…and that’s just scratching the surface. Besides transporting me to a time and place that I hold dear to my heart, the late 90s and early aughts, this film just checked every single box for me. I can only hope the first two do the same.
The Barn Part III is a violent, practical effects-filled rollercoaster that doesn’t let off the brakes from the jump. To me, this feels like the proper send-off to a franchise I’m new to, and it’s giving me severe FOMO. Full of insane kills and a charming main cast, The Barn Part III is neck and neck for best of the fest for me. Do yourself a favor, gas up your tractor and get to The Barn as soon as possible.
