directed by: Larry Fessenden
starring: Patricia Clarkson; Jake Weber; Erik Per Sullivan; John Speredakos
Michael says: "Larry
Fessenden's chilling tale of a family from the city encountering supernatural
forces in the wilderness is also a deft character study that utilizes
a lot of low- budget tricks in an excellent way.
|Laura says: "Fessenden
creates an unsettling, spooky mood with a whole bag of filmic tricks including
lighting, montage, music and puppetry. Cinematographer Terry Stacey's (HAPPY
ACCIDENTS) camera spies on the family through a window before Fessenden
cuts to a rapid series of playing cards where the Jack appears to kill the
Queen. Miles is frequently shown in Spielbergian silhouette. Composer Michelle
echoes the sinister lalala-ing of ROSEMARY'S
BABY. A group of locals Kim approaches for help look like butchers and
barbecuers right out of THE
TEXAS CHAINSAW MASSACRE until her POV is removed and they devolve into
mediocrity. The Wendigo itself is shown in brief flashes or as a shadow,
resembling the eerie tree trunk of LITTLE
OTIK." 4 1/2 cats
For Laura's complete review: "http://www.reelingreviews.com/wendigo.htm"
Peg says: "Ever since the Matter of Blair Township was unearthed by those cocky Orlando upstarts three summers ago, contemporary horror films have taken a nosedive into the neo-pagan-mythology-meets pseudo-indie-verité abyss. But writer/director/editor Larry Fessenden's WENDIGO, though at first glance more of the same (with DV and Super 8mm footage), is styllistically superior, though somewhat flawed in its feverish depiction of a yuppie family yearning for nature's fleeting release.
"George and Kim McClure (THE CELL'S Jake Weber and HIGH ART'S Patricia Clarkson) take their psychically sensitive son Miles (the impressive Erik Per Sullivan, a/k/a Dewey from 'Malcolm in the Middle') to the Catskills for the weekend. Their Volvo hits a deer just as they arrive in town, and they're confronted by hunters who've been tracking the buck all day. Miles gets an antlered totem figure from an elderly Indian (whom no one else can see) at the local pharmacy, and thereafter things get pretty spooky. Fressenden's juicy, moody, mise-en-scéne, full of quivering branches and racing riverbeds winks slyly at the classics (POLTERGEIST, DELIVERANCE, THE BLAIR WITCH PROJECT, PAPERHOUSE), but he also crafts an unsettling takeon the intersection of myth and modernity."
Reprinted from the Boston Phoenix