Struggling filmmaker Gavin York discovers a stowed away box full of film cassettes in his in-law’s basement. As York delves into the tapes, he becomes obsessed with the tapes’ contents involving two film students documenting the evoking of localized folklore phantom, known as Peeping Tom, as their thesis. Capturing Peeping Tom on their camera acting as a human lens, the two students can’t escape the malevolent presence that gets closer and closer to their reality with every shutting off the camera. York, himself, is also being documented by a group of filmmakers, attempting to capture the far-fetched story of Gavin’s unravelling of the historic legend as well as to turn a profit in revealing that Peeping Tom does, in fact, exist. The two tales of filmmakers ride a distressing parallel that spirals them into ghastly obsession and forces them to never, ever blink again!
“Butterfly Kisses” is the 2018 supernatural faux-documentary from writer-director Erik Kristopher Myers. The “Roulette” filmmaker finds inspiration in Ellicott City, Maryland’s, very own, staring contest champion in Peeping Tom; a 16th century labeled example of a Flickergeist, a shadowy image just on the edge of the peripheral vision, and Peeping Tom also goes by the monikers Blink Man or The Tunnel Man. “Butterfly Kisses” title comes as when Peeping Tom gets closer with every blink of an eyelid, his victim will need to painfully keep their peepers open for as long as they can, but when Peeping Tom is so close, close proximity to the face, flutter’s his eyelashes against her eyes forcing one to blink and succumb to his deadly motives. With Myers’ film, a little bit of this reviewer wanted to see Peeping Tom actually deliver the act of butterfly kisses upon a victim before mangling the poor soul into oblivion.
While both documentaries involve shedding light onto the exposure of a Flickergeist, the narrative harshly shines more of the starlight onto the characters making these films. Gavin York is essentially dissected while he being self-absorbed in himself and his dollar signs he thinks his project is worth to the word. Seth Adam Kallick does Gavin well though perhaps slightly overselling the performance; however, there never was a deeper rabbit hole for York to escape from, leaving not a lot of range for Kallick and his character to arc. York studies and analyzes the original thesis film spearheaded by Sophia Crane, played by Rachel Armiger, and her cameraman Feldman, played by Reed DeLisle. The dynamics are fine between Armiger and DeLisle whom poke the bees nest of folklore legends, but moments to reflect their humanity, why should we care about these two characters as people from abandoned or forgotten footage, didn’t quite translate. Rounding out the cast Erik Kristopher Myers, Matt Lake (Author of the “Weird” state book series), and Eileen del Valle.
The documentary inside a documentary is like looking into a mirror that’s facing another mirror, ping-ponging back and forth between parallel stories that are only set a part bestowed year their recorded while peppering Peeping Tom true to form, as a flicker of a shadowy figure. Myers does his due diligence in editing these two films together, meshing appropriately the intertwining, sometimes combating, docs to find common ground in a linear story. Sometimes the realism just didn’t hit the mark and creating that casual dialect or the valueless moments didn’t blossom, staying focus more on the task at hand. Also, this narrative has been told and rehashed before in some way, shape, or form, whether hunting the legend of Bigfoot or summoning the Slender Man, finding separation between Myer’s film and those other project proves difficult. What’s enjoyable about “Butterfly Kisses” are the welcoming jump scares and while only a couple of jump scares make the cut, the two are well-timed, well-scored, and well-placed to send a shockwave through out the nervous system. Even I jumped on these scenes.
Four-Fingered Films presents Erik Kristopher Myers’ “Butterfly Kisses,” a supernatural documentary that explores a national, Great Depression-born, folklore bred in Maryland and depicts a contagious obsession of stubbornness and worth. Unfortunately, an online screener was provided for this critique so the audio and video aspects will not be reviewed. There were also no bonus material with this screener. “Butterfly Kisses” is a quasi-found footage spook show surrounding another of America’s frightful urban myths, granting Peeping Tom more staying power just inside the corner of our peripheral vision, but the film doesn’t quite highlight and tour the reason or the rhyme to Flickergeist’s true power. Myers chose to detail the downward spiral of those consumed by the sight of his very questionable existence in more than one profitable fashion and that can be more frightening than the realism of a ghoul.
A Massachusetts foursome of girls, Wren, Chloe, Hallie, and Katie, invoke the summoning of an internet lore named Slender Man after watching an instructional online video on how to evoke his presence to reality. After the video completes and the girls dismissively chalk this activity up as hoax-filled rubbish, an embattled and disconnected Katie vanishes a few weeks later during a school sanctioned field trip to a historical graveyard, thrusting the remaining three friends into investigating her abrupt disappearance all the while they each experience an ominous figure haunting them in and out of consciousness. As the continue to look for Katie, Slender Man keeps popping up into the findings. Wren’s convinced, after suffering from terrifying visions, that Slender Man wants the four who’ve contacted him and when her friends dismiss Wren’s frantic ravings, she employs Hallie’s sister, Lizzie, to assist in stopping Slender Man. All of reality is being skewed while Slender Man hunts them down one-by-one and if they’re not taken, those left in Slender Man’s wake will forever be deranged with madness.
Straight from it’s internet meme playbook origins comes the constructed next chapter in “Slender Man’s” mythology from the “I’ll Always Know What You Did Last Summer” director Sylvain White and written by David Birke (“Elle”) that feels very familiar to “The Ring” premise. Based of the mythos created by Victor Surge, aka Eric Knudsen, “Slender Man” fruition onto the Hollywood scene finds a home under Sony’s Screen Gems division, the same division that delivered the Paul W.S. Anderson “Resident Evil” franchise. While not a mega-glossy action horror piece for Sony and Screen Gems, White’s take on one of the internet’s most popular and mysterious spawns revels in it’s own crowd funded supernatural element and White is the grand puppeteer behind the scenes piecing the material together that builds upon, and extends, “Slender Man” canon into film and video visuals. “Slender Man” provides the character flesh, extenuating doubt where special effects can make monolith his presence of inception and flourish from imagination to terrifying reality. If looking outside the box, “Slender Man” could also be translated into symbolism for the online predatory habits men take towards young, sometimes teenage and impressionable girls. There in lies references to this notion with such in Katie, who is a runaway teenage girl with a fixation toward an obscured man from the internet, aka Slender Man, and also Hallie’s vivid nightmares of being pregnant with the very Lovecraftian-esque spawn of Slender Man as tentacles shoot out from her large, protruding stomach. Yes, she’s a high school girl…
“Slender Man” centers around a four female, high school age characters: Chloe, Katie, Wren, and Hallie. The latter being the leader, Hallie, played by Julie Goldani Telles, is an unwavering non-believer of Slender Man, contributing her visions and feelings as some sort of coming of age Freudian bizarro show. The now 23-year old Telles convinces to pull off a well adjusted teenage girl spiraling into Slender Man’s otherworldly oblivion and absolutely turns the corner when younger sister Lizzie, Taylor Richardson, becomes an unwitting participate. Hallie almost comes toe-to-toe with her confident and frantic friend Wren, a character bestowed to Joey King of “Quarantine” and “White House Down.” King’s townboy-ish approach has served well to keep her character apart in order to not clash with other warring personalities. Yet, there’s not a whole lot interesting aspects associated with the other two characters, Chloe and Katie. If audiences were expected to be concerned for Katie, then Annalise Basso needed her character to have more screen time. The “Ouija: Origin of Evil” actress barely had a handful scenes to try to convey a poignant life with an alcoholic father before she’s whisked away to never been seen again. Chloe had a slight more substance as means to exhibit the result of not being taken by Slender Man; “Chilling Adventures of Sabrina’s” Jaz Sinclair didn’t really add any pizzaz to her poorly written flat character.
Though Slender Man’s origins surpasses being a byproduct of an internet meme and becomes woven into a lore of all it’s own through a global, technological network, the very fabric “Slender Man’s” tech horror theme had laid a negligent foundation. Viewers without a hint of Slender Man knowledge will find the connection between the shadowy figure that stalks and kidnaps children and the domain from which it was born, witnessing the technology used in the film being wielded as a tool of evil rather than a conduit of to connect two worlds. What works for Sylvain White is his knack for shaping Slender Man into physicality in an applauding effort that combines chilling atmospherics, well timed visual and audio cues, above decent special effects, and the crunchy, contorted body of Javier Botet as the Slender Man. We’ve covered Botet before in “Insidious: The Last Key” as the antagonistic KeyFace creature. KeyFace and Slender Man, two similar but still vastly different villains, wouldn’t be as influential or be brought to such a horrifying fruition if Botet was not behind the mask and it’s because of Botet’s blessing, but also a curse, Marfan Syndrome physique that he’s able to accomplish a wide range of distorted and malformed characters.
Sony Pictures presents “Slender Man” onto HD 1080p Blu-ray under the Screen Gems label. The Blu-ray is presented in widescreen of the film’s original aspect ratio, 2.39:1. “Slender Man” doesn’t sell itself as high performance, resulting in more details in the range of textures rather than relying on a clean, finished look. Colors are remain behind a cloak of darker shades to pull of gloomy atmospherics, but do brighten when the scene calls for it. The digital film looks great, if not fairly standard, for movies of today. The English DTS-HD Master Audio 5.1 track is quite high performance, like revving an engine on an imported roadster. Slender Man comes with his own cache of audio tinglers to send chills up your spin and invoke cold sweats. Every branch breaking ambiance and desperate and exasperated breath being took by the teen girls aligns cleanly and nicely with the visual representations. Dialogue is lossless and prevalent as well as being integrated seamlessly during more active sequences in a well balanced fit all with range and depth. Thin extras do put a damper on the release with a bland featurette entitled “Summoning ‘Slender Man:’ Meet the Cast.” The featurette doesn’t do much more than give the actors’ and White’s opinion of their characters and Slender Man. The shame of it is that the internet is a vast place of information and knowledge and, yet, the featurette doesn’t knick the surface of who and what is Slender Man. Plus, if remembering correctly, there are scenes omitted from this release; more intense and bloodshed scenes that would have granted a more adult friendly rating. This release doesn’t offer up two versions of the film. Despite embodying a rehashed, bi-annual story of supernatural and psychological tech horror of the PG-13 variety, “Slender Man” endures through with a sliver of appreciation for the easily missed facets that work as a positive in Sylvain White’s 2018 film, such as bleak atmospheric qualities and Javier Botet’s performance, but the diluted final product, released on Blu-ray, benches what could have an at home video entertainment home run for Sony Pictures.
EVIL Review on Slender: The Arrival. I know this review is poor but i’m trying to get the hang of doing video reviews.
Well its official, our youtube channel is now active! The first video is a playthrough on Slender: The Arrival.
It’s back! “American Horror Story” returns on FX for its fourth season: Freak Show.
The first episode is expected to air on 8th October 2014 at 10pm. Hopefully we are provided with more gripping storylines like all the previous ones that we know and love. This season is set in 1952 and will follow a freak show trying to survive in Jupiter, Florida. Dark entities flood the town and both the outcasts and normal townsfolk must fight to survive the fearsome rush of darkness. Much loved favourites are back for our viewing pleasure; Jessica Lange, Kathy Bates, Sarah Paulson, Naomi Grossman and Emma Roberts.
A two-headed woman, a strongman, a bearded lady, a fortune-teller, a three-breasted woman and a man with lobster hands are amongst some of the characters we will see. It is rumored that Slender Man may make an appearance and although this hasn’t been verified the Official Teaser #10 (see teaser below) backs this up. The video shows the legs of a tall man holding the hand of a little girl. His top half isn’t visible which intrigues us all the more. Slender Man is a mythical creature, inhumanely tall and skinny, who preys on little children. He is rumored to kidnap them but it remains a mystery as to what he does with them beyond this. If Slender Man and freaks isn’t enough, this season is also reported to feature a killer clown. Some people believe American Horror Story is mediocre, but most people are anticipating the return of the most suspenseful and nightmarish television show around. Don’t miss it!