Tag Archives: Brandon Scott

Baby I’m a Star

Big Baby

by Hope Madden

Is a horror film writer’s imagination creating real life carnage? Writer/director Spider One (Little Bites) asks the question in his latest, Big Baby.

Brandon Scott is Adam, an insecure but successful horror screenwriter who opens the film by listening to two dumbasses with a podcast say his latest movie is so bad that he should kill himself.

The point is not whether the movie is bad. The point is that Adam continues to listen. Then to stew and brood, even though his girlfriend Kate (Krsy Fox) reminds him that he’s too good to be bothered by these idiots. He’s kind of being a big baby.

Cue the nightmares: a hulking brute in a crying baby mask axes Kate in half. And the only way Adam knows to deal with this nightmare…and the others…and the waking hallucinations…is to write a script about it.

Spider One takes advantage of Scott’s genuine talent to anchor a film with a lot of insights and jabs. When you write horror, people forever wonder what’s wrong with you. Big Baby digs into this, as characters in Adam’s script show up in his life begging for theirs. He can change their fate. He has the control.

It’s kind of a cross between In the Mouth of Madness and Stranger Than Fiction with the baby mask from Happy Death Day thrown in for good measure. And it’s often fun and more often compelling, again due mainly to Scott’s committed performance.

Fox turns in solid support in a part that generates the film’s real tension as Big Baby nudges toward toxic behavior and domestic abuse. Things get sloppy once the film focuses more deliberately on what it is that Adam’s writing.

Had the script’s story tied into the core story in any way, the final product could have been quite rich. Instead, we get a series of non sequitur murders. While the tension outside Adam’s script amps to a spectacular, yell-at-the-screen level, the parallel story within the script Adam’s writing squanders that energy.

The result is curiously unsatisfying. Even as Big Baby leaves room for sequels, we’ve lost interest in the tale it’s telling.

Go Stand In the Corner

Blair Witch

by George Wolf

Buried now under so many years of bad found footage movies and viral marketing gimmicks, it’s easy to forget that in 1999, The Blair Witch Project was a scary sensation for good reason: it was creepy and frightening on a brilliantly primal level. It may be impossible now to view that film without the baggage nearly twenty years have added, but the main complaint from the naysayers is usually “it’s not scary…nothing happens!”

Director Adam Wingard hears you, and he has something for you.

Wingard’s Blair Witch began last year with the unassuming title The Woods, before unveiling itself as a BWP sequel (Book of Shadows  is wisely ignored) a few months back. Repeating the genius of the original film’s “is it real?” firestorm wasn’t going to happen, but this rope-a-dope title switch was an early sign of Wingard’s solid instincts for both limitation and opportunity.

Remember poor Heather from BWP? Her brother James (James Allen McCune) thinks he glimpses her in a strange online video, so he tracks down the poster, Lane (Wes Robinson). Lane says he found the tape while hiking in the Black Hills Forest, the same area in Maryland where Heather, Mike and Josh went missing years before.

James’s friend Lisa (Callie Hernandez) is the budding documentarian this time, so along with friends Ashley (Corbin Reid) and Peter (Brandon Scott), they head into the forest, filming their search for the mysterious house deep inside it where, hopefully, Heather can still be found.

Wingard (You’re Next) and usual screenwriter Simon Barrett know we know some of what’s coming, so they serve it up. Strange noises at night, twigs, and piles of stones are all here (which, if this is the same witch at work, they should be) but we also get an eerie expansion of the ways time and space seem to break down inside the forest.

There are plenty more jump scares, too, and then a sly acknowledgement that this device can quickly grow tiresome, before it’s on to the main event. The tension, naturally, doesn’t feel as tight as when we first went into these woods, but Wingard, as he did with the film’s “fake” title, is confidently exploiting his chance to bring our guard down.

Once inside the house, things most definitely happen, and it’s a helluva fun ride.

The pace becomes almost breakneck, and as the point of view is mainly through a video camera, we’re scanning all corners of the screen for a light source, a way out, someone standing in the corner..or worse.

And if you have one certain phobia, expect to squirm plenty.

Blair Witch is Wingard and Barrett’s most complete film, because it understands why the original Project was scary, and how to honor that horror legacy while turning the action up a notch.

Or three.

Verdict-3-5-Stars