Ever since I started reviewing movies coming from DBS films, I’ve seen it all. Their horror, and more specifically, their found footage films, have grown on me, and I’ve been able to witness a progression from amateurish to the right indie production value. Most importantly, they’re proud of their endeavor and their business model, and it shows when a film like Shadows of Bigfoot breaks through formulas and expectations. The film could have been excessive in terms of exposition, visual effects, and every resource a filmmaker indulges on with the right amount of money. Instead, it holds tight to the restraints that indie horror is based on and capitalizes on that.
The story is simple. A pair of filmmakers investigate the origins of a legend lurking in Blackwood Forest. Viewers are pretty clear this is a Bigfoot movie because of the title, and a nice opening sequence that reveals early it’s also a creature feature. Nevertheless, director Brendan Rudnicki keeps things simple. It’s a film about darkness, character dynamics, and the impact of urban legends when suspension of disbelief is necessary. Shadows of Bigfoot also complies with found footage rules, and while it could be a document that proves the growth of DBS films and the technical prowess of its crew, Rudnicki doesn’t go for overkill. He shows Bigfoot when it’s necessary and instead goes heavy on the gore.
Grace, Drew, and Jake are the perfect victims. They enter the woods, unaware that the hermit they’re looking for is actually not a hermit. They face the usual dude who tells them the woods aren’t safe, and sure, they go right into the wolf’s den. This is horror territory, and the rules of horror are sacred. However, the film never wastes any time by drifting into unnecessary sequences that bulk up the running time. It goes for the jugular in a third act that checks every item in the list, satisfying the craving of horror hounds that arrive at this point with a demand.
In terms of visuals and the technical backdrop of the film, DBS has gotten much better. The makeup effects are really, really good, and some with a weak stomach won’t be able to get to the end (seriously, the shots where mangled bodies are shown are… insane). No cheap sound effects, and no lousy editing. Shadows of Bigfoot is supported by decent production value that shows how valuable DBS is at the moment for horror film production. It’s a film by fans, for fans.
This is very evident when it comes to performers. The warriors in front of the cameras who do their best in the world of indie, low-budget horror. Tatum Bates in her best role in the DBS-verse, Andrew Thomas does a decent “final boy,” Dylan DeVane does the job, and Billy Hirsch is a great “suspect.” My only complain? The opening sequence should have been a biiit longer, as I wanted to know more about that white-bearded hunter with the drive to kill whatever was hiding in the woods.
Film critic. Lover of all things horror. Member of the OFCS. RT Approved Critic.
