The sound design is tremendously effective in enveloping the viewer in a horrifying sound world of storm and void.
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Though the precise framing across formats, in conjunction with a series of telegraphed jump scares, undermine the raw and risky formal choices of the original. There’s a funny bit of dialogue in the film about the merits of digital video tape recording versus more modern methods. The visual approach is also more colorful and more expansive, including drone videography, which becomes part of the plot. The acting of the cast is arch and conspicuous, never approaching the improvised being of the original cast. From Book of Shadows Barrett and Wingard borrow the aware observers, canny characters who assume they know enough about the original kerfuffle to avoid making the exact same mistakes, but not knowing enough to fight the threat posed by the mysterious forest and its “witch”.īlair Witch is attuned to what young moviegoers who like horror films might expect from a modern horror remake-as commercial product. From The Blair Witch Project, Blair Witch borrows nearly every significant narrative event, merely heightening the haunted forest milieu with more characters and image acquisition formats, but preserving the lost path toward a haunted house and the desolation therein. With all of this in mind, Adam Wingard’s Blair Witch, written by Simon Barrett, is a film dually influenced by both preceding installments, though its plot ignores the events of Book of Shadows. This is a creative premise, but the execution was muddled. Specifically, the tormented characters of the first sequel are members of that trapped audience from the first film and thus highly aware of the original text and simultaneously under equipped to fight the unknown forces outside of the artifice. Joe Berlinger’s Book of Shadows: Blair Witch 2 is not remembered for being groundbreaking in any way, but its notable narrative approach was to switch perspectives and include a mode of intertextual storytelling.
The writer who best described the effect is Paul Wells, who wrote in 2000 that the collected / manufactured evidence supporting the mythology of the film “refuses an ‘exit’ from the circuit of publicity / authentication for the overall text.” ( The Horror Genre: From Beelzebub to Blair Witch Wallflower Press, 2000) The groundbreaking viral marketing of The Blair Witch Project presented a single overriding narrative as an experience from which there was no way out, aligning viewers with the characters in more ways than one. The mythology created for the entirely fictional original Blair Witch Project was executed in a way that trapped spectators within a single text, using specious evidence on “outside” platforms to corroborate the truth of the inner fictional tale. While the sort of internecine misery and madness of that play is evident in the conflicts of doomed student filmmakers Heather, Josh, and Mike, there are intra-textual layers of The Blair Witch Project that contribute experiential aspects of narrative not present in the form or content of Sartre’s stage play. Upon its release in 1999 and in the years since, I’ve considered the degree to which The Blair Witch Project is a plot in the tradition of Jean-Paul Sartre’s No Exit. What was the aura of the first, and has it been lost?
To compare aggregations of critical responses would be likewise telling on a surface level, but ultimately fail to explain what the films do, how they do it, and what distinguishes the innovative original installment from its sequels. Neither sequel achieved the box office power of Daniel Myrick and Eduardo Sanchez’ original film, which in 1999 enjoyed 17 weeks of domestic release and a worldwide gross of nearly $249 million.īut these are just the numbers. For a film with a production budget of $5 million, these numbers indicate a successful theatrical run.Īs a business product, the film compares favorably to first Blair Witch Project sequel Book of Shadows: Blair Witch 2 (2000), which on a production budget of $15 million received eight weeks of domestic release and a worldwide gross of almost $48 million.
In total, the foreign box office grosses ($22 million) slightly exceed the domestic ($21 million).
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The movie will soon enter the short limbo between theatrical and home releases. Blair Witch, the 2016 American film remake / sequel of The Blair Witch Project (1999), debuted on more than 3,000 cinema screens six weeks ago and is presently playing on fewer than 200 screens (domestically).
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