Though there are some citations which suggest that the ever-elusive Bigfoot has some historical grounding in the writings of indigenous people, I’d still argue that – as a cultural phenomenon – it ain’t that old.
In fact, it was most likely the 1967 Patterson-Gimlin film that truly sparked the whole Bigfoot craze at least so far as Americans are concerned. I was too young to hear of it (and make any sense of it) back then, but in the early 1970’s it definitely fell onto my own radar. As a young’un, I was a nut for anything paranormal, supernatural, or relatedly extraordinary; and I scoured newspapers and magazines for any such mention of saucers, aliens, ghosts, gremlins, portals, and Sasquatches. To be honest, there wasn’t much out there, but that thankfully changed over the years as books, TV shows, and major motion pictures finally got into the act of exploring ‘High Strangeness’ that had such a big (and growing) audience. It continues to this day as even podcasters and other content creators have breached those horizons, and I’m always pleased to find something new to add to the various mythologies.
And because I’ve always been a huge self-professed fan of ‘found footage filmmaking’ – which this arguable is and isn’t – I went into Shadows Of Bigfoot with high hopes. I’d seen a few modestly produced documentaries in the last year or two that loosely expanded on some publicized stories dealing with the mysterious cryptid; and – are you kidding me? – what would be better than an independent flick promising to give audiences one more up-close-and-personal look at the world’s reigning hide’n’seek champion? Written (in part) and directed by Brendan Rudnicki, the Horror/Fantasy starred Tatum Bates, Andrew Thomas, Billy Hirsch, Carl McWilliams, and Sabino Garza in prominent roles. What emerges come the big showdown isn’t so much ‘found footage’ nor all that frightening but it’s still an interesting theatrical diversion that might be good enough to whet the appetites of monster fans, footage junkies, and Bigfoot aficionados alike.
That has to count for something, am I right?
(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:
“In the shadowy confines of Blackwood Forest, filmmakers exploring Bigfoot myths face their worst fears when a vengeful monster emerges, turning their project into a chilling fight for survival.”
In fact, it was most likely the 1967 Patterson-Gimlin film that truly sparked the whole Bigfoot craze at least so far as Americans are concerned. I was too young to hear of it (and make any sense of it) back then, but in the early 1970’s it definitely fell onto my own radar. As a young’un, I was a nut for anything paranormal, supernatural, or relatedly extraordinary; and I scoured newspapers and magazines for any such mention of saucers, aliens, ghosts, gremlins, portals, and Sasquatches. To be honest, there wasn’t much out there, but that thankfully changed over the years as books, TV shows, and major motion pictures finally got into the act of exploring ‘High Strangeness’ that had such a big (and growing) audience. It continues to this day as even podcasters and other content creators have breached those horizons, and I’m always pleased to find something new to add to the various mythologies.
And because I’ve always been a huge self-professed fan of ‘found footage filmmaking’ – which this arguable is and isn’t – I went into Shadows Of Bigfoot with high hopes. I’d seen a few modestly produced documentaries in the last year or two that loosely expanded on some publicized stories dealing with the mysterious cryptid; and – are you kidding me? – what would be better than an independent flick promising to give audiences one more up-close-and-personal look at the world’s reigning hide’n’seek champion? Written (in part) and directed by Brendan Rudnicki, the Horror/Fantasy starred Tatum Bates, Andrew Thomas, Billy Hirsch, Carl McWilliams, and Sabino Garza in prominent roles. What emerges come the big showdown isn’t so much ‘found footage’ nor all that frightening but it’s still an interesting theatrical diversion that might be good enough to whet the appetites of monster fans, footage junkies, and Bigfoot aficionados alike.
That has to count for something, am I right?
(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:
“In the shadowy confines of Blackwood Forest, filmmakers exploring Bigfoot myths face their worst fears when a vengeful monster emerges, turning their project into a chilling fight for survival.”
Where I differ from most fans of ‘found footage’ is one simple position: I expect the rules – all of the rules – to be followed if I’m to accept it as an authentic entry into the unique sub-genre of (typically) Horror filmmaking.
As I stated politely above, Shadows Of Bigfoot is and isn’t a great example. Like so many features, its storytellers make good use of the construct – there’s even an opening title card that clarifies the recovered film was edited behind-the-scenes – but it doesn’t quite ‘stick the landing’ as they’ve chosen to incorporate some rather obvious editing between interviews, character exchanges, rehearsed speeches, and the like. Heck, the producers even felt it necessary to include background music – in a deliberate attempt to heighten the suspense – and – apologies to all involved – that’s really breaking some of the cornerstones to what ‘found footage’ was conceived to be.
Setting aside those grievances can be difficult, especially when it comes to critically evaluating a film, its performance, its varying perspectives, and whatnot. There could’ve been workarounds the cast and crew explored to maintain the authenticity desired of such experiences, but, instead, they opted to go in other directions … and no fault to them for their choices. It doesn’t make my job any easier, but I persevere, nonetheless.
Structurally, Shadows has everything it needed to deliver a good but somewhat predictable stories. (These yarns rarely end on happy notes, and this one is no different.) Grace (played by Tatum Bates) is a likeable presence; with an almost girl-next-door aura, she steps comfortably into the shoes of a YouTube.com-style content creator who spends her time exploring relatable mysteries. On her quest, she’s joined by Drew (Andrew Thomas), her fiancé and vlog partner who displays a bit more veracity when the question of exposing Bigfoot on camera enters the equation. Understandably, Grace’s aspirations have limitations, and they don’t include getting trampled much less eaten by the wooly behemoth; but she allows her curiosity to get the best of her, putting her good foot forward (which she’ll regret in more ways than one) because that’s what we do when we’re in a committed relationship.
As I stated politely above, Shadows Of Bigfoot is and isn’t a great example. Like so many features, its storytellers make good use of the construct – there’s even an opening title card that clarifies the recovered film was edited behind-the-scenes – but it doesn’t quite ‘stick the landing’ as they’ve chosen to incorporate some rather obvious editing between interviews, character exchanges, rehearsed speeches, and the like. Heck, the producers even felt it necessary to include background music – in a deliberate attempt to heighten the suspense – and – apologies to all involved – that’s really breaking some of the cornerstones to what ‘found footage’ was conceived to be.
Setting aside those grievances can be difficult, especially when it comes to critically evaluating a film, its performance, its varying perspectives, and whatnot. There could’ve been workarounds the cast and crew explored to maintain the authenticity desired of such experiences, but, instead, they opted to go in other directions … and no fault to them for their choices. It doesn’t make my job any easier, but I persevere, nonetheless.
Structurally, Shadows has everything it needed to deliver a good but somewhat predictable stories. (These yarns rarely end on happy notes, and this one is no different.) Grace (played by Tatum Bates) is a likeable presence; with an almost girl-next-door aura, she steps comfortably into the shoes of a YouTube.com-style content creator who spends her time exploring relatable mysteries. On her quest, she’s joined by Drew (Andrew Thomas), her fiancé and vlog partner who displays a bit more veracity when the question of exposing Bigfoot on camera enters the equation. Understandably, Grace’s aspirations have limitations, and they don’t include getting trampled much less eaten by the wooly behemoth; but she allows her curiosity to get the best of her, putting her good foot forward (which she’ll regret in more ways than one) because that’s what we do when we’re in a committed relationship.
To the cast and crew’s credit, they make good use (mostly) of a nighttime setting for the lion’s share of their search efforts. The sequences are still surprisingly well lit – especially when compared to what usually serves as murky ‘found footage – so much so that it becomes clear that these explorers are not so much travelling on paths in the deep, dark forest as they are old dirt roads (in most cases) that have been obscured by a bit of overgrown foliage and other natural detritus here and there. Having spent my fair share in the wilds, these locations don’t much resemble them, but – as I said – I think they’ve gone to respectable lengths to preserve the milieu necessary to make this spooky tale a bit spookier in the right ways.
Where things begin to come apart for me – besides the mention of some rather obvious editing done in post-production – is the fact that far too many of Grace and Drew’s little exchanges appear to have been somewhat greatly rehearsed. For example, the two narrate these small sequences detailing where they’re going and what they’re doing that are meant to be obvious inserts to their forthcoming documentary: however, these set-ups are delivered perfectly – with exact pauses, with exact verbiage, with zero flubs – and it feels very much like these are two actors who’ve properly memorized lines of dialogue and are no delivering them on-camera. It lacks the rawness that goes in unison with ‘found footage,’ cracking the reality they’ve much better conceived whilst plodding through the woodland. When you break that narrative wall, there’s really no easy way back, suggesting that this is all artificial; and they break it several times throughout the film.
Dissecting the structure a bit more, Shadows also in a few sequences works more like a completed documentary that it does the usual footage-in-progress. Early on their quest, our team stumbles across a group of campers sitting around their campfire so they do the neighborly thing and stop for a chat. What transpires are these woven together little snippets of exposition – bits and pieces of story wrapped around a suspicious local murder and the hermit living off the grid – and like those inserted pieces of music it’s undeniably clear that these have been strategically clung together, not authentically inserted as words were said. Yes, there’s a scene wherein Grace admits to backing up footage – also curiously filmed for no apparent reason except to set the stage for dialogue between her and Drew that would’ve otherwise gone unseen – so I don’t doubt she could’ve made some crucial little edits at that time. My point here is that it defies the whole foundation of ‘found footage,’ and that cheapens the brew.
Now, none of these complaints are meant to dissuade anyone who might otherwise enjoy Shadows. It’s extremely well-made – especially so when you know it’s an independent production – and it’s reasonably entertaining to those of us who like this sort of entertainment. Bigfoot certainly makes his presence known – it looks like he might even have friends – and it likely all wraps up exactly the way you want it to knowing that this is Horror, after all, and it doesn’t end happily ever after. A little more attention to details – along with a tighter script and a few more jump scares – could’ve given this one a greater chance to defy the commercial odds in the same way 1999’s The Blair Witch Project really brought back ‘found footage’ in a big way. But the truth remains that this Yeti is really no Blair Witch.
Where things begin to come apart for me – besides the mention of some rather obvious editing done in post-production – is the fact that far too many of Grace and Drew’s little exchanges appear to have been somewhat greatly rehearsed. For example, the two narrate these small sequences detailing where they’re going and what they’re doing that are meant to be obvious inserts to their forthcoming documentary: however, these set-ups are delivered perfectly – with exact pauses, with exact verbiage, with zero flubs – and it feels very much like these are two actors who’ve properly memorized lines of dialogue and are no delivering them on-camera. It lacks the rawness that goes in unison with ‘found footage,’ cracking the reality they’ve much better conceived whilst plodding through the woodland. When you break that narrative wall, there’s really no easy way back, suggesting that this is all artificial; and they break it several times throughout the film.
Dissecting the structure a bit more, Shadows also in a few sequences works more like a completed documentary that it does the usual footage-in-progress. Early on their quest, our team stumbles across a group of campers sitting around their campfire so they do the neighborly thing and stop for a chat. What transpires are these woven together little snippets of exposition – bits and pieces of story wrapped around a suspicious local murder and the hermit living off the grid – and like those inserted pieces of music it’s undeniably clear that these have been strategically clung together, not authentically inserted as words were said. Yes, there’s a scene wherein Grace admits to backing up footage – also curiously filmed for no apparent reason except to set the stage for dialogue between her and Drew that would’ve otherwise gone unseen – so I don’t doubt she could’ve made some crucial little edits at that time. My point here is that it defies the whole foundation of ‘found footage,’ and that cheapens the brew.
Now, none of these complaints are meant to dissuade anyone who might otherwise enjoy Shadows. It’s extremely well-made – especially so when you know it’s an independent production – and it’s reasonably entertaining to those of us who like this sort of entertainment. Bigfoot certainly makes his presence known – it looks like he might even have friends – and it likely all wraps up exactly the way you want it to knowing that this is Horror, after all, and it doesn’t end happily ever after. A little more attention to details – along with a tighter script and a few more jump scares – could’ve given this one a greater chance to defy the commercial odds in the same way 1999’s The Blair Witch Project really brought back ‘found footage’ in a big way. But the truth remains that this Yeti is really no Blair Witch.
Shadows Of Bigfoot (2024) was produced by DBS Films Orlando. DVD distribution (for this particular release) has been handled by the fine folks at Warner Archive. As for the technical specifications? While I’m no trained video expert, I’ve probably seen more ‘found footage’ projects that readers ever knew existed; and this one isn’t nearly a herky and jerky as are so many. In fact, this one’s overall production quality is very good, ignoring things like the usual out-of-focus and/or grain trickery. One might argue that – ahem – it looks too good for ‘found footage,’ but that’s an argument for another day and time. Lastly, if you’re looking for special features? Sigh. Not a one. A miss, but – as they say – it is what it is.
Alas … only Mildly Recommended.
Why, why, why? It’s a question I find me asking myself with practically each and every found footage film that comes down the pike these days, and – respectfully – Shadows Of Bigfoot is no different. While I’m all in favor of crafting any project for maximum efficiency, I’m still strongly opposed to circumventing the core principles that make ‘found footage’ what they’re supposed to be in the first place. Those rather obvious gripes aside, Shadows will still likely resonate with those who are more forgiving than I – it had bits and pieces I enjoyed – and it might even achieve a modest cult status with footage enthusiasts in the years ahead. But for me – the only opinion I ever claim to represent – it was a touch too artificial in ways that showed I was watching a more conventional foray into the realms of the Fantastic; and that was a little offputting.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive and DBS Films provided me with a complimentary Blu-ray of Shadows Of Bigfoot (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
Alas … only Mildly Recommended.
Why, why, why? It’s a question I find me asking myself with practically each and every found footage film that comes down the pike these days, and – respectfully – Shadows Of Bigfoot is no different. While I’m all in favor of crafting any project for maximum efficiency, I’m still strongly opposed to circumventing the core principles that make ‘found footage’ what they’re supposed to be in the first place. Those rather obvious gripes aside, Shadows will still likely resonate with those who are more forgiving than I – it had bits and pieces I enjoyed – and it might even achieve a modest cult status with footage enthusiasts in the years ahead. But for me – the only opinion I ever claim to represent – it was a touch too artificial in ways that showed I was watching a more conventional foray into the realms of the Fantastic; and that was a little offputting.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive and DBS Films provided me with a complimentary Blu-ray of Shadows Of Bigfoot (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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