Once more, I remind readers: found footage films are – most definitely – not for everyone.
As I’ve often said, these pictures are not always seamless experiences. From a narrative perspective, they start in one place and may have to travel miles upon miles in order to get where the storyteller intends; and – along the way – viewers are often subjected to some of the wildest, shakiest, least visible cinematography of record. As that isn’t always the case – meaning that there have been some features I’ve seen assembled with fewer visual bumps and hiccups – it’s still important to approach each and every one of these knowing full well that Dramamine helps to put all of the headaches behind you once it’s over, though I’ve yet to find a suitable substance to alleviate plot holes or poor performances.
2025’s Livestream isn’t exactly the first picture of its type I’ve seen to try to tackle the modern world of … well … live-streaming; but – minimally – I will admit up front that I had more fun with its second half than I did its rather laborious first. For reasons I can’t begin to fathom, writer/director Victor Soares felt it necessary to take a great deal of screen time setting the stage for what evolves to be a relatively simple pay-off – a persevering, no-nonsense Horror/Slasher outcome that’s, meh, predictable here and there but still effectively executed and performed once we get to the nitty gritty. A bit of restraint in the opening 40-minutes would’ve given this one a better chance to stand shoulder-to-shoulder with similar offerings. As it stands, it’s uneven even what little twists it tries.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type 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:
“As a team of livestreamers embark on a haunted house challenge, they quickly realize that the scares may be more real than they anticipated. With each twist and turn, they must navigate through the terror and fight to survive the night.”
I know, I know, I know. I hear all of you crying out in unison. Found footage? Not another Found footage film? But – as I always say – I like ‘em, and so long as I’m calling the shots, I’ll probably have something to say about them.
As I’ve often said, these pictures are not always seamless experiences. From a narrative perspective, they start in one place and may have to travel miles upon miles in order to get where the storyteller intends; and – along the way – viewers are often subjected to some of the wildest, shakiest, least visible cinematography of record. As that isn’t always the case – meaning that there have been some features I’ve seen assembled with fewer visual bumps and hiccups – it’s still important to approach each and every one of these knowing full well that Dramamine helps to put all of the headaches behind you once it’s over, though I’ve yet to find a suitable substance to alleviate plot holes or poor performances.
2025’s Livestream isn’t exactly the first picture of its type I’ve seen to try to tackle the modern world of … well … live-streaming; but – minimally – I will admit up front that I had more fun with its second half than I did its rather laborious first. For reasons I can’t begin to fathom, writer/director Victor Soares felt it necessary to take a great deal of screen time setting the stage for what evolves to be a relatively simple pay-off – a persevering, no-nonsense Horror/Slasher outcome that’s, meh, predictable here and there but still effectively executed and performed once we get to the nitty gritty. A bit of restraint in the opening 40-minutes would’ve given this one a better chance to stand shoulder-to-shoulder with similar offerings. As it stands, it’s uneven even what little twists it tries.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type 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:
“As a team of livestreamers embark on a haunted house challenge, they quickly realize that the scares may be more real than they anticipated. With each twist and turn, they must navigate through the terror and fight to survive the night.”
I know, I know, I know. I hear all of you crying out in unison. Found footage? Not another Found footage film? But – as I always say – I like ‘em, and so long as I’m calling the shots, I’ll probably have something to say about them.
Thankfully, Livestream both is and isn’t the usual found footage. Under Soares’ direction, it really only employs the usual visual antics common to the downsides of found footage sparingly; and he inserts – to my surprise and delight – a few longer sequences that play out more like conventional Horror/Drama even though the pacing might be slowed down as a consequence of only having one single narrative perspective. Of course, it helps when the cast is as gifted as this bunch is, even though there might be a big mistake in the second half that kills the momentum the ensemble so effectively built.
Mia (Sarah Molinski) is not only living her best life but also she’s living it almost entirely online. With a growing audience delivering untold fortune and fame, she’s begun thinking outside the box in ways to continue providing bold, new content via her streams; so when a travel agency offers her the chance to experience a premium airBNB in the sticks (aka extremely rural destination) she can’t help but load up her online crew and head off for parts unknown.
But this is Horror, and – ahem – everyone with a brain knows full well that that which awaits us far from town is rarely free of the peculiar. One happy family – the Chapmans, momma Lindsay (Nika Khitrova), daddy Anthony (Anthony Moore), and daughter Liza (Savannah Schakett) – greets them at the front door of this impressive cabin; and their plastered-on smiles alone should’ve been the first sign that things are not what they seem in this part of the woods. Lo and behold, young Liza – looking like she likely lands somewhere on the dubious end of the Autism spectrum – insists that she’s Mia’s fan; and – ahem – would it be too much trouble if she joined these young internet pioneers for an evening of fun?
Now, part of the fun in taking this kind of thrill ride is that we, the audience, do get to see things that the characters may or may not. This private insight is what helps put us on edge, knowing full well that taking an out-of-touch child under our wing – even for only a single evening – is the kind of set-up for potential destruction that fuels our nightmares. Though it takes some time before the first domino (body) falls, Livestream manages to properly ratchet up some tension once these influencers start to turn on one another, casting Joss (Mao Sun) – Mia’s kinda/sorta boytoy – as perhaps the would-be serial killer whose been hanging silently-in-wait for his chance to draw first blood all along.
To his credit, Soares – as the writer and director – clearly knows what he wants to do once Livestream turns bloody; and that is the story’s greatest strength. Though it’s a slim body count, he rather effectively bobs and weaves his plot through its paces; and I’ll always applaud respectable craftsmanship when I see it. It may be derivative. It may be predictable. But it still works. Also, Soares gets some great mileage out of a young cast, allowing even secondary characters like Pedro (Soares himself!) and budding songstress Cindy Hope (Tiffany Dennis) the chance to score some kinder, gentler emotional ‘beats’ before putting them through their paces. Yes, it’s reasonably expected here and there, but – as one who relishes good screen work when he sees it – I had fun watching Mia and her friends spiral conspiratorially into and out of communion here. Sadly, the first 30-40 minutes feels a bit unanchored by comparison; so there’s a great deal of set-up that never quite achieves anything other than … well … screen filler.
Mia (Sarah Molinski) is not only living her best life but also she’s living it almost entirely online. With a growing audience delivering untold fortune and fame, she’s begun thinking outside the box in ways to continue providing bold, new content via her streams; so when a travel agency offers her the chance to experience a premium airBNB in the sticks (aka extremely rural destination) she can’t help but load up her online crew and head off for parts unknown.
But this is Horror, and – ahem – everyone with a brain knows full well that that which awaits us far from town is rarely free of the peculiar. One happy family – the Chapmans, momma Lindsay (Nika Khitrova), daddy Anthony (Anthony Moore), and daughter Liza (Savannah Schakett) – greets them at the front door of this impressive cabin; and their plastered-on smiles alone should’ve been the first sign that things are not what they seem in this part of the woods. Lo and behold, young Liza – looking like she likely lands somewhere on the dubious end of the Autism spectrum – insists that she’s Mia’s fan; and – ahem – would it be too much trouble if she joined these young internet pioneers for an evening of fun?
Now, part of the fun in taking this kind of thrill ride is that we, the audience, do get to see things that the characters may or may not. This private insight is what helps put us on edge, knowing full well that taking an out-of-touch child under our wing – even for only a single evening – is the kind of set-up for potential destruction that fuels our nightmares. Though it takes some time before the first domino (body) falls, Livestream manages to properly ratchet up some tension once these influencers start to turn on one another, casting Joss (Mao Sun) – Mia’s kinda/sorta boytoy – as perhaps the would-be serial killer whose been hanging silently-in-wait for his chance to draw first blood all along.
To his credit, Soares – as the writer and director – clearly knows what he wants to do once Livestream turns bloody; and that is the story’s greatest strength. Though it’s a slim body count, he rather effectively bobs and weaves his plot through its paces; and I’ll always applaud respectable craftsmanship when I see it. It may be derivative. It may be predictable. But it still works. Also, Soares gets some great mileage out of a young cast, allowing even secondary characters like Pedro (Soares himself!) and budding songstress Cindy Hope (Tiffany Dennis) the chance to score some kinder, gentler emotional ‘beats’ before putting them through their paces. Yes, it’s reasonably expected here and there, but – as one who relishes good screen work when he sees it – I had fun watching Mia and her friends spiral conspiratorially into and out of communion here. Sadly, the first 30-40 minutes feels a bit unanchored by comparison; so there’s a great deal of set-up that never quite achieves anything other than … well … screen filler.
Lastly, Livestream’s second half – while vastly better than the first – still curiously drops the gang’s suspicions of Joss even after there’s another body found (won’t spoil it, sorry, but it’s a solid twist) that should’ve even further cast aspersions on his more-than-capable shoulders. Why? Weren’t we led to believe that of everyone here he had the single greatest motivation to commit the big nasty? Why out of nowhere was the possible culprit granted a reprieve by those in the dark of the developments regarding Mia and young Liza? Just … because? Meh. Not good enough … and I, for one, would’ve kept running away from the cabin as opposed to doubling back for no narrative reason.
I guess that’s why I’m not a victim in Horror but, thankfully, just a consumer of it.
Livestream (2025) was produced by Acting Famous Productions and JustThink Entertainment. A quick Google.com search indicates that the film is available for purchase or rental online via such platforms as AppleTV, Google Play, and YouTube.com. As for the technical specifications? While I’m no trained video expert, I feel it incumbent upon me to remind readers that – once again – this is a ‘found footage format’ production; and it helps knowing very much that these films do involve a bit of herky-jerky camerawork from start-to-finish. Some sequences are understandably better than others, but I didn’t find the distractions all that troublesome. Lastly, if you’re looking for special features? Alas, as I viewed this flick via a stream, there were no special features under consideration.
Recommended.
SciFiHistory.Net has always been friendly to the world of found footage films; and that’s why I’m always happy to take in projects like Livestream (2025). Knowing full well what’s in store, I’m able to set aside some of the usual preconceptions and view the story as it was intended – an organic experience that brings with it some minor flaws as part and parcel for what one signs up for. That said, Livestream still emerges as a solid contender that proves not all is dead with found footage. While the script has a blemish here and there, the totality of the carnival ride reigns supreme. The Horror is a tad conventional … but it’s still an effort that shows what’s possible with a bit of creativity.
In the interests of fairness, I’m pleased to disclose that the fine folks at Studio Dome Press provided me with complimentary streaming access to Livestream (2025) 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
I guess that’s why I’m not a victim in Horror but, thankfully, just a consumer of it.
Livestream (2025) was produced by Acting Famous Productions and JustThink Entertainment. A quick Google.com search indicates that the film is available for purchase or rental online via such platforms as AppleTV, Google Play, and YouTube.com. As for the technical specifications? While I’m no trained video expert, I feel it incumbent upon me to remind readers that – once again – this is a ‘found footage format’ production; and it helps knowing very much that these films do involve a bit of herky-jerky camerawork from start-to-finish. Some sequences are understandably better than others, but I didn’t find the distractions all that troublesome. Lastly, if you’re looking for special features? Alas, as I viewed this flick via a stream, there were no special features under consideration.
Recommended.
SciFiHistory.Net has always been friendly to the world of found footage films; and that’s why I’m always happy to take in projects like Livestream (2025). Knowing full well what’s in store, I’m able to set aside some of the usual preconceptions and view the story as it was intended – an organic experience that brings with it some minor flaws as part and parcel for what one signs up for. That said, Livestream still emerges as a solid contender that proves not all is dead with found footage. While the script has a blemish here and there, the totality of the carnival ride reigns supreme. The Horror is a tad conventional … but it’s still an effort that shows what’s possible with a bit of creativity.
In the interests of fairness, I’m pleased to disclose that the fine folks at Studio Dome Press provided me with complimentary streaming access to Livestream (2025) 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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