(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the kind of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A series of mysterious and savage murders plague an area of remote wilderness known for its insidious past.”
With that plot description, therein lies the problem.
2024’s The Stickman’s Hollow joins that unfortunately growing list of feature films that clearly had more going for it behind-the-scenes – perhaps even directly on the drawing board – than writer/director Jack Cox was able to squeeze into his otherwise efficient 85-minute running time. While that isn’t a complaint directly, it’s still the confession of a frustration I have with flicks that subtly hint at more backstory – to characters, to places, to situations, etc. – than producers are able to fit up on the silver screen. There’s no way anyone watching can miss the reality that Stickman’s Hollow – this only modestly scenic backwoods locale that attracts fisherman, campers, and hikers alike – is supposed to be suffused with some dark, dangerous, and maybe even strangely transcendental local legend … but we’re never quite told what it is.
Now, some could argue that this is entirely by design.
After all, why give the audience everything they need to know in order to appreciate the atmosphere of heightening malevolence when what really matters are the characters we take us on the twisting journey into what might be one of our greater nightmares, that of getting lost in the woods and being hunted? If I remember correctly, the writers behind ABC TV’s popular conspiracy serial Lost (2004-2010) tried to erect the same defense when so many in their audience announced displeasure over the way all of the show’s mysteries were left unsolved in its final season. According to them (and I’m paraphrasing), “the mysteries never mattered as the people who confronted them.” While I can understand and appreciate those sentiments, I’ve always been of the mindset that puzzle boxes must have a solution – good, bad, or ugly – because otherwise they serve no purpose. Similarly, Hollow needed a bit more substance if Cox and company wanted it to be taken as something greater than just a scary picture. (Yes, it is scary, so kudos for getting that right!)
Additionally, I’ll give the film kudos for clearly trying to be more than the sum of its parts.
Hollow unfolds cleverly over the course of four distinct chapters told in a chronology that adds depth to what appeared to be little more than your garden variety ‘lost in the woods’ yarn. Initially, viewers follow the typical American family on a weekender in the forest – mom and dad are teaching their son Oliver (Alexander Brophy) how to live off the land – only to be constantly plagued with suggestions that these deep groves are … well … troubled. It doesn’t take too long for the narrative to shift – a priest is on a mission to perform an unexplainable exorcism, something that mysteriously links to his own distant past – and we realize that there’s far more here than just what meets the eye. Like any good Folk Horror, Hollow sets up just enough pieces to put everything into motion; but as the supporting chapters slowly suggest this little grim potboiler might be nothing more than a bout of demonic possession gone about as wrong as was humanly possible. That plot element alone kinda/sorta spoils (or, at least, softens) some of what Cox’s story established earlier – what with some the enigmatic sounds, the ominous warning from a grizzled townie, the veritable maze of fallen trees and twisting branches, etc. – leaving hungry viewers perhaps a bit confused over what truly went down in this neck of the country and why. And how.
Still, I’d be remiss if I failed to point out that – as a ‘found footage film’ (which I know a great portion of society loathes) – Hollow is about as efficiently and expertly assembled as any low-budget chiller could be. At times, Cox manages to squeeze each and every location into the proper shape: his woodlands open rather plainly – so much so that I wondered myself what all the fuss could possibly be about – only then to evolve into this nightmare labyrinth in the last chapter wherein Alice (Ely Jackson) and Curtis (Thomas Cadrot) find themselves separated and ultimately trapped by some spectral entity that has lured them to their potential downfall. Everything builds vividly across the whole story – especially the stakes – even though it all comes to a bald head (snicker snicker) with an awful lot of questions unanswered.
The Stickman’s Hollow (2024) was produced by Illusion Lake Entertainment. DVD distribution (for this particular release) has been coordinated by the fine folks at Black Mandala and Leomark Studios. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the film boasts some high-quality sights and sounds, though I’ll also point out that the post-production audio trickery enhancing the possession victim’s voice could’ve used some fine-tuning. Lastly, if you’re looking for special features? Alas, this is a bare bones release (snicker snicker), and there isn’t a one on here. A big miss as I would’ve loved knowing a bit more about the production.
Recommended, but …
I know, I know, I know: I’m one of the last internet hold-outs as a critic who enjoys the occasional ‘found footage flick,’ and – on that level – I’ll admit to having a good deal of fun with The Stickman’s Hollow. Thankfully, writer/director Cox avoided a great deal of the usual herky-jerky camera work – there’s some but it’s very minor – and instead allows these interconnected separate chapters to spin a modestly elaborate web. Now, it isn’t without it’s frustrations – the script alludes to more background than we ever get with the Hollow, stripping it to some degree of its true Folk Horror potential in favor of creepiness and jump scares – but, nonetheless, it’s far more well made than so many other ‘found footage,’ so I find it easy to give it a solid thumbs up.
In the interests of fairness, I’m pleased to disclose that the fine folks at Black Mandala (via Allied Vaughn) provided me with a complimentary Blu-ray of The Stickman’s Hollow (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
From the film’s IMDB.com page citation:
“A series of mysterious and savage murders plague an area of remote wilderness known for its insidious past.”
With that plot description, therein lies the problem.
2024’s The Stickman’s Hollow joins that unfortunately growing list of feature films that clearly had more going for it behind-the-scenes – perhaps even directly on the drawing board – than writer/director Jack Cox was able to squeeze into his otherwise efficient 85-minute running time. While that isn’t a complaint directly, it’s still the confession of a frustration I have with flicks that subtly hint at more backstory – to characters, to places, to situations, etc. – than producers are able to fit up on the silver screen. There’s no way anyone watching can miss the reality that Stickman’s Hollow – this only modestly scenic backwoods locale that attracts fisherman, campers, and hikers alike – is supposed to be suffused with some dark, dangerous, and maybe even strangely transcendental local legend … but we’re never quite told what it is.
Now, some could argue that this is entirely by design.
After all, why give the audience everything they need to know in order to appreciate the atmosphere of heightening malevolence when what really matters are the characters we take us on the twisting journey into what might be one of our greater nightmares, that of getting lost in the woods and being hunted? If I remember correctly, the writers behind ABC TV’s popular conspiracy serial Lost (2004-2010) tried to erect the same defense when so many in their audience announced displeasure over the way all of the show’s mysteries were left unsolved in its final season. According to them (and I’m paraphrasing), “the mysteries never mattered as the people who confronted them.” While I can understand and appreciate those sentiments, I’ve always been of the mindset that puzzle boxes must have a solution – good, bad, or ugly – because otherwise they serve no purpose. Similarly, Hollow needed a bit more substance if Cox and company wanted it to be taken as something greater than just a scary picture. (Yes, it is scary, so kudos for getting that right!)
Additionally, I’ll give the film kudos for clearly trying to be more than the sum of its parts.
Hollow unfolds cleverly over the course of four distinct chapters told in a chronology that adds depth to what appeared to be little more than your garden variety ‘lost in the woods’ yarn. Initially, viewers follow the typical American family on a weekender in the forest – mom and dad are teaching their son Oliver (Alexander Brophy) how to live off the land – only to be constantly plagued with suggestions that these deep groves are … well … troubled. It doesn’t take too long for the narrative to shift – a priest is on a mission to perform an unexplainable exorcism, something that mysteriously links to his own distant past – and we realize that there’s far more here than just what meets the eye. Like any good Folk Horror, Hollow sets up just enough pieces to put everything into motion; but as the supporting chapters slowly suggest this little grim potboiler might be nothing more than a bout of demonic possession gone about as wrong as was humanly possible. That plot element alone kinda/sorta spoils (or, at least, softens) some of what Cox’s story established earlier – what with some the enigmatic sounds, the ominous warning from a grizzled townie, the veritable maze of fallen trees and twisting branches, etc. – leaving hungry viewers perhaps a bit confused over what truly went down in this neck of the country and why. And how.
Still, I’d be remiss if I failed to point out that – as a ‘found footage film’ (which I know a great portion of society loathes) – Hollow is about as efficiently and expertly assembled as any low-budget chiller could be. At times, Cox manages to squeeze each and every location into the proper shape: his woodlands open rather plainly – so much so that I wondered myself what all the fuss could possibly be about – only then to evolve into this nightmare labyrinth in the last chapter wherein Alice (Ely Jackson) and Curtis (Thomas Cadrot) find themselves separated and ultimately trapped by some spectral entity that has lured them to their potential downfall. Everything builds vividly across the whole story – especially the stakes – even though it all comes to a bald head (snicker snicker) with an awful lot of questions unanswered.
The Stickman’s Hollow (2024) was produced by Illusion Lake Entertainment. DVD distribution (for this particular release) has been coordinated by the fine folks at Black Mandala and Leomark Studios. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the film boasts some high-quality sights and sounds, though I’ll also point out that the post-production audio trickery enhancing the possession victim’s voice could’ve used some fine-tuning. Lastly, if you’re looking for special features? Alas, this is a bare bones release (snicker snicker), and there isn’t a one on here. A big miss as I would’ve loved knowing a bit more about the production.
Recommended, but …
I know, I know, I know: I’m one of the last internet hold-outs as a critic who enjoys the occasional ‘found footage flick,’ and – on that level – I’ll admit to having a good deal of fun with The Stickman’s Hollow. Thankfully, writer/director Cox avoided a great deal of the usual herky-jerky camera work – there’s some but it’s very minor – and instead allows these interconnected separate chapters to spin a modestly elaborate web. Now, it isn’t without it’s frustrations – the script alludes to more background than we ever get with the Hollow, stripping it to some degree of its true Folk Horror potential in favor of creepiness and jump scares – but, nonetheless, it’s far more well made than so many other ‘found footage,’ so I find it easy to give it a solid thumbs up.
In the interests of fairness, I’m pleased to disclose that the fine folks at Black Mandala (via Allied Vaughn) provided me with a complimentary Blu-ray of The Stickman’s Hollow (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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