Film Fests
UFF9: ‘Wilderness Tapes’ & ‘Primal Darkness’
Wilderness Tapes: Volume One
According to the National Forrest Service, over one million cell phones and cameras are lost in the wilderness every year. Wilderness Tapes follows the exploits of Prospector Pete Burke (Thomas Burke) through the lens of a TV show that aims to explore the videos found on said cell phones and cameras. Pete heads down into the depths of an abandoned gold mine to find what treasures he can, and hopefully make a name for himself. The guts of these mines hold deeper secrets than just treasure, forcing Pete to face horrors beyond his wildest nightmares.
Writer/director Brandon Walker is back with his fourth feature film and hits a goldmine. Wilderness Tapes is a fun take on the ‘found’ part of the subgenre. When it comes to found footage, it’s usually not really explained how the footage became found. Using a TV show to frame Pete’s footage, based on the opening bit about lost cell phones and cameras, brings a bit more credence to why we’re seeing what we’re seeing. But what’s most enjoyable about the framing device is how it basically gives Walker carte blanche to do whatever he wants to do in future volumes–even a WTEU (Wilderness Tapes Extended Universe) could work.
Pete Burke’s World Is Impossible to Look Away From
Wilderness Tapes excels with great pacing, a powerful lead performance, and an enthralling finale. Thomas Burke delivers an incredibly whimsical, yet grounded performance when needed, making it impossible to pull your eyes from the screen. And by the time Walker is ready to fully immerse us in the horror, I was fully committed to whatever hell I was about to be thrown into. Pete Burke is the man that Shawn Ruddy wishes he could have been.
Primal Darkness
Cole Harrington (Dillon Brown) is the host of the wildly popular internet hunting show Primal Instinct. After hitting a milestone of nearly 150,000 subscribers in Season 1 of his show, Cole tries to find the balance between the demands of fame and his crumbling personal life. But his newest episode for Season 2, in the Big Smoky Valley of Central Nevada, might push him further than he’s been pushed so far. Will Cole walk out of this Valley with his greatest footage yet? Or will Season 2 end sooner than anyone thought?
From the legendary co-creator of the Tahoe Joe series, writer/director Dillon Brown solidifies himself as a master of horror with Primal Darkness. This film finds itself in the sweet spot of a film that works really well, with one huge, glaring issue dead center. Though the first sentence probably sounds contradictory when followed up by that. Let’s unpack it.
Cole Harrington is a genuinely likeable guy. He lives his life with the mantra of “keeping the balance”. When you take from this world, you must give back equally. Those who take and give not a single thing back throw off the natural balance. While not the most nuanced idea, it’s appreciative to see a found footage film try to tackle legitimate commentary where it doesn’t feel shoehorned into an overwritten plot. Brown’s writing and performance bring us one of the sweetest and most affable characters we’ve seen in the subgenre in quite some time. Plus, Brown’s performance is beyond enchanting.
A Mid-Film Perspective Shift Threatens to Derail Primal Darkness
By the time you fully give yourself over to the whims of Dillon Brown, you’re whiplashed by a complete pace-halter. We switch perspectives when a new camera is found, and two wholly frustrating characters take over the film for far too long. Now, for some, that will be a major turnoff. These characters give weak performances and grind the slow build of tension to a complete halt. But we quickly get back into the groove of things with fantastic pacing (and performances) once we’re back in the company of Cole.
Why Primal Darkness’ Controversial Structure Works
I completely understand why Dillon Brown took the direction he did with the mid-film switch. In fact, I would argue that the film needed to unfold how it did. Since the footage part of the film I’m talking about exists within the confines of Primal Instinct, I feel like it should have gone at the very start. But by the time the credits rolled, I was truly freaked out. Brown’s antagonist isn’t too much of a departure from his Tahoe Joe films (don’t worry, it’s not a Bigfoot), but it’s different enough to make me wonder if we’ve ever gotten a horror film about this type of thing/creature.
All in all, fans of Tahoe Joe will find enough of the filmmaker they love in Primal Darkness, while seeing how much he’s grown over the years. But those who have never seen Tahoe Joe/heard of Dillon Brown will still be able to enjoy the ride of this wicked found footage flick.
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.
