THE LAST BROADCAST

A cinematic cousin to such superior horror films as Cannibal Holocaust and The Blair Witch Project, Heretic Films' newest acquisition is a worthwhile if flawed supernatural attack against expectation. The Last Broadcast, directed by Stefan Avalos and Lance Weiler, combines traditional narrative technique with documentary footage, lending effectiveness to its subtle on-screen thrills while questioning the validity of mainstream media, particularly nightly news shows, where such technological 'tricks' could easily be employed by the unscrupulous to craft their own pseudo-documentaries. Subversive thematic suggestions aside, the surface plot is involving if not very frightening, depending on both atmosphere and the ever present question of "is it real or not?" to achieve empathy -- the later of which provides a constant source of intrigue even when the narrative lags or becomes disjointed by the successive barrage of interviews that, along with a purposefully fragmented method of plotting, throws the audience into a state of confusion.

A fictitious investigation into the deaths of two public access TV producers as they investigate the dark depths of the New Jersey Pine Barrens, this attempt at realism achieves a majority of its popularity based on its relationship (and suggested influence of) The Blair Witch Project, both sharing a similar setting of foreboding forest, confusion, and such filmic techniques as shaky hand-held video cameras and footage located in the woods explaining, to an extent, the murder of principle characters. A 'documentary' by one David Leigh who happens to be investigating the legend of the Jersey Devil and the murders in the Pine Barrens, this careful if misapplied study of human evil is an exercise in suggestion and a respectable stab at evoking fear through shadowy unease rather than graphic shocks. David discovers that an internet television public access show 'Fact or Fiction,' which featured hosts Steven and Locus, soundman Rein and psychic Jim, decided to visit the legend haunted darkness of the Pine Barrens to explore the legend of the Jersey Devil. When Jim came back, covered in dripping crimson, he was duly convicted of the murder of his associates, and a further mystery was born. We, along with David, discover pieces of this uncanny tragedy through the discovery of missing footage . . . The format resembling a television documentary, The Last Broadcast focuses on David's attempt to deconstruct the enigma behind the deaths of Stefan Avalos and Lance Weiler, and investigate if Jim Seward, an unstable young man, was really responsible.

In what could easily be seen as a parody of modern journalism (cough!), our nation's zombie-like enjoyment of oh-so-unreal 'reality television,' and our hunger for other people's tragedies, The Last Broadcast sometimes forgets that its first job is to entertain. While it doesn't always deliver in this category, it isn't through lack of trying, as shadowy hints of hoary forest nightmares and frightful enigmas clash with characters whose very unlike ability lend them a further air of believability. While Blair Witch the later was more frightening and effective as storytelling, Last Broadcast does have the advantage of appearing closer to reality, establishing the methods and technology of the documentary format. Perhaps the directors stress their point a bit too much. On the plus side, the fragmented interviews and piecing together of the footage, resembling an A&E special, lends authenticity and interest to all the weirdness. On the negative side, nothing on A&E has ever been particularly frightening . . . . While that isn't the case here, suspense is diluted by an over-dependence on technology, and a too strict adherence to the documentary 'trick' that, at times, overshadows the actors and setting. Overall, however, the film evokes genuine scares, questions the nature of reality and the media, and, most impressively, asks viewers to question the very nature of their realities. No small feet for such a cheaply made movie. Stefan Avalos and Lance Weiler show themselves capable as imaginative storytellers here, simply in need of further polishing. In short, this imaginative if occasionally dull account of a famous urban legend is, at its best, as intelligent as it is sinister, achieving its effects from well placed shadows rather than gore. Now if only the ending wasn't so agitating . . .!

Heretic gives The Last Broadcast its due, cleaning it up, without loosing any of its essential roughness. Digitally projected, the feature's lack of fines is due to a conscious effort, not the result of slipshod work. This inherent lack of polish enforces its supposed reality -- essential for the story to work at all. As such, the quality of the video ranges from distorted to professional quality, the 'look' of the footage mirroring the needs of the story. Sound is dead on, offered in Dolby Digital 2.0 with optional Spanish subs.

Extras are almost as substantial as the movie itself in this Heretic package, including four extensive Behind the Scenes featurettes. These include "Behind the Scenes of Production," which feature Stefan and Lance discussing their four gruelling days of shooting in the woods, the thrill they experienced going from documentary footage to straight narrative for the ending, and much more. "Behind the Scenes of Post Production" continues the fun, and is truly informative as to the importance of this stage of the filmmaking process. "Behind the Scenes of Distribution" explains how Stefan and Lance refused to convert their video technology into celluloid even after getting the opportunity from distributors, and the integrity that they felt their new technology brought to both the movie and the very craft of filmmaking. These featurettes are filled with surprising antidotes, well worth your time. While they could have spent more time discussing the story itself, it is clear that they were more enamoured with the technology than the narrative itself. As such, those intrigued by the technical aspects of filmmaking will be most pleased. "Legend of the Jersey Devil," the next supplement, delivers a factual folktale involving the mythical creature, and while short, delivers the simplistic chills of all authentic fables. The extras continue with Raw Interview Footage , wherein we get to see by example how the filmmakers allowed/encouraged their non-professional actors to speak freely, eventually getting usable material. Perhaps the most ridiculous, and more entertaining of the extras is the "Fact or Fiction Show Clips," featuring a hand-full of "guests" that the doomed show chatted with. These are frank, funny, and disturbingly close to the nonsense that has recently invaded television. Jim Seward breaks into song in "Jim Seward: Alive and Well," getting his groove on with "God Don't Lose" and another folk ditty. Finally, "Gallery of Gore," featuring artwork and promotional materials for the film offers glimpses at the visual side of the movie, followed by trailers for the feature film, Head Trauma and Ghosts of Edendale.

Review by William P. Simmons