Following the death of her father in a terrible accident, sweet, yet troubled Jennifer and her friends decide to check out her dad's cabin that's located in the deep woods of Boggy Creek, ... See full summary »
Brian T. Jaynes
Hawken is a rugged drifter and loner who meets and comes to rescue a young Shawnee woman, named Spirit in 1840s Tennessee, whom he leaves after saving her from a rouge group of Shawnee ... See full summary »
The "Boogens" are scaly monsters that look somewhat like giant turtles with lots of sharp, nasty teeth. They are released from an abandoned, boarded-up silver mine in Colorado and proceed ... See full summary »
James L. Conway
SACRED GROUND tells the fact-based story of a mountain man and his Indian wife who happen upon a partially built cabin and finish it for their own home, not realizing that they occupy a ... See full summary »
A documentary-style drama which questions the existence of a monster in an Arkansas swamp. It is really more of a glimpse at lower-class swamp culture from the seventies, though, than a monster flick. Written by
Sean Taylor <email@example.com>
The film is based upon actual reported encounters with a Bigfoot creature in the Fouke-Boogy Creek area of Arkansas throughout the 1960s and early 1970s. Most of the actors in the film were the actual people from the encounters. See more »
In the scene where Mr. Turner and the Ford brothers are on the porch shooting at the monster, Turner's flashlight alternates between a regular size flashlight and a large lantern flashlight (the same lantern flashlight the Constable gives them later). See more »
One of my earliest and most vivid memories of childhood is of sitting in the Lovejoy Theatre in Buffalo, New York, in late 1972-early 1973 and being scared out of my wits by the TRAILER for this film. When the film opened in late June 1973 my whole family went to see it and it scared the daylights out of all of us.
The opening scenes of the swamp critters frolicking and the subsequent sepulchral cry of the creature remains one of the most primordial images of terror I can imagine.
I absolutely loved this film then and nearly flipped when I found the 1988 VHS release. For the first time in over a decade the family relived the chills we'd experienced and shared stories of how scared we were going to the family cabin in the upstate New York woods after seeing it the first time.
The VHS copy served well and faithfully until the recent DVD release supplanted it with its excellent print quality and cleaned up sound. I can only hope that if there is another DVD release, they will use a widescreen print.
I've read critiques of how bad this film is, and I can't dispute that the pre-credits sequence with the little kid and the general store coots is wretchedly awful, and the voice-over narration is PAINFULLY embarrassing with its "ooh...shudder-shudder" delivery.
However, I am in awe of how disturbing, effective and genuinely scary this film can be -and still be rated G! Yes. This film is rated G and it remains the single most frightening -genuinely frightening - film I've ever seen.
I am particularly impressed at how it creates mood and tension by what it DOESN'T show. The creature is, for the most part, only shown fleetingly in the background, or obscured by foliage, or else in bits and flashes. I applaud the restraint (whether intentional or budgetary) of the director NOT to show the creature full-on in bright light.
THE UNTOLD (aka SASQUATCH) would have been one of the all-time best Bigfoot movies ever if they hadn't included that Gawd-awful face-to-face meeting at the climax (granted that their design of the creature was excellent).
The same superbly photographed trees and bottom-land which draw you into the beauty of nature suddenly take on a sinister mood of isolation a moment later when the creature steps out behind a tree in the distance, or when its cry is heard. Massive kudos to the cinematographer and film editor.
I will also go out on a limb here and admit that I particularly enjoyed the music score in this movie. I emphasize the SCORE and not the lyrics, because the composer did a very creditable job, whereas the lyricist should never had quit his day job writing greeting cards.
The Ballad of Boggy Creek, MINUS the lyrics, is one of the most infectiously hummable tunes I've ever heard and almost qualifies as true Americana, while the Travis Crabtree sequence -again MINUS the lyrics and the Paul Williams wannabe vocal- is effectively scored to conjure the feeling of rustic simplicity and the freedom of backwoods living.
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