WATCH THE TRAILER HERE
First, the Recap:
The legacy of poor judgement. Let’s face it, whenever we might realize that for all the things we actually DO manage to do correctly, there is most likely a litany of other “adventures” we just didn’t quite think through enough prior to embarking on them. If you’re lucky, maybe you HAVEN’T encountered this, but for all the multitudes that have, the question must be posed–was it worth it? In the scope of seeking to be something well beyond JUST who we are, whether through fame, riches, or simply desiring to make a statement, should due consideration not be given to what consequences might be awaiting us on the other side? For two notorious YouTubers, Louise (Riz Moritz) and Thea (Ellie Duckles), their aims to “conquer” what in their estimation is basically an elitist society propels them to pull the biggest “job” in defiance of it yet via sabotaging a high-end commercial shoot and stealing stuff. Of course, NOTHING could POSSIBLY go wrong….correct?
Next, my Mind:
Let’s begin this way–the idea of expectations. When originally offered the opportunity to view and, of course now, review the newest indie feature film effort from writer/director/producer Matthew Butler-Hart, writer/producer Tori Butler-Hart, executive producers Sir Ian McKellen, Ali Al-Hilal, Jonathan Halperyn, Chris Hart, Wendy Hart, Lady Susie Sainsbury, Anthony Pye-Jeary, and Alix Wilton Regan (with some additional contributions in writing from Graham Butler, Hattie Chapman, Ellie Duckles, Emma King, and Riz Moritz) with an initial understanding of it being billed as a “don’t take this TOO seriously” horror/comedy, this critic went into it all therefore with some pre-conceived notions of what precisely I was looking to get immersed in. Being transparent, I was somehow anticipating a foundational tone that mirrored an amalgamation of “Student Bodies” meets “Evil Dead 2”, with exaggeration and sheer campiness the order of the day.
Well, while I will never remotely claim to always “get it” every time I offer thoughts on what I’ve witnessed, the narrative (and hence film) that sees two boisterously bubbly but ornery young women vying for upping their social media popularity and anti-establishment mentality via pulling off the greatest stunt they’ve attempted yet involving deception and some seriously nefarious nicking of their target’s possessions who subsequently run afoul of a malevolent spirit awakened by the shenanigans occurring didn’t come across funny to me–at all. Now, mind you, does the film cover original ground for the “found footage” genre it resides in, no. Does it showcase some of the more typical instances and circumstances that happen to characters placed in the situation that’s delivered, undeniably yes. But in the context of what I personally would bill as a horror/comedy, the mirthful elements and intentionally over-exaggerated facets I was thinking would come about really didn’t.
Instead, I actually felt some genuine chills in certain moments, solid degrees of straightforward entertainment from others, and MAYBE some sense of chuckling when it’s fairly telegraphed that these characters are in for a go with a force well beyond their comprehension or control and WILL pay the price for it, in standard horror movie style. But then, I was also looking at this as the cautionary tale it could be seen as, from the literal scope of social media’s often TOO influential impact on people, the seeking of that “status” and “importance” via acts (here anyway) of irresponsibility even when attempting to make what COULD be construed as a valid societal statement, and what it means to push TOO far in a quest for that “fix”, to even odes to close friendships, roadtrips, the tenacious energy but waywardness of youth, and the desire to see damaged cultural norms (perceived or real) be altered for a better world to come about have their underlying presence here. This again IS in the midst of a rather disgruntled entity wreaking havoc on all who are in its way, leading to a finale that you would of course ultimately see coming.
I will state that IN the finale, though, the literal final moment IS quite witty when understood in the state of affairs we’ve seen and in relation TO the particular character’s involvement with the narrative. The music score is suitably ominous, and the imagery presented here, all shot on iPhone incidentally, is truthfully very impressive and effective for the atmosphere being sought after and the grander look it conveys when the chaos breaks loose and characters start dropping like flies under menacing chanting and a phasing-in-and-out spirit of evil unleashed upon them. Moritz and Duckles are very much a unified front of unbridled energy, relentless attitude and resolve, fearless daring, and admittedly infectious, playful exuberance (at least until the screaming starts) via their roles as Louise and Thea, a pair of YouTube “celebrities” who’ve gained their reputation as quite the rebels in word and deed, garnering them enough of a following to decide it’s time to up the ante on their already dubious antics. With a plan in place, they embark on the new endeavor, not knowing that it will end up becoming their doom in place of social media domination.
I greatly loved how each actress portrays her specific character, as they both carry such passion and fervor in portraying what they are–YOUNG and ALIVE–and it is hard not to fall in love with them during the initial part of their character’s travels towards (unbeknownst) oblivion, where the overt vulnerability and unsettled terror takes them over. It speaks TO this generation on multiple levels, with both of the actresses exuding the demeanor which befits our contemporary culture. Tori Butler-Hart, in a way, gets the chance to play herself via the role of Tori, a commercial director on location at a remote mansion for a fashion shoot that will become the source of frustration, success, and total anarchy when she and her crew could become the actual first casualties of a murderous (and newly awoken) entity while not even knowing they’re already targets of another duo of subversive sirens. Matt Barber and Emma King play Matt and Emma, the pair of models Tori is utilizing for the shoot who seem to have their own certain issues with each other but still manage to work well enough together to make the shoot go well–until it ISN’T.
Graham Butler is Gray, Tori’s somewhat hapless producer/cinematographer who would appear to get more than his fair share of chances to offer input to the shoot, yet also might just be Tori’s whipping boy when potentially overstepping his duties or opinions–until it doesn’t matter anymore as darkness descends on their efforts. Hattie Chapman is Hattie, the TRUE “gofer” of the team who might end up having the most advantageous position of anyone involved when things go to blazes–or will she? Luca Thompson appears as Prof. Ash Blake (I cannot actually help but smirk at a character named “Ash” in a horror film. AKA: Think previous film referenced earlier in my review!) who apparently had past dealings with the mansion and its highly checkered past and whose thoughts on the matter come too little too late. Additional key appearances are made by Lord Somerton and Robert Parry along with voice work from Richard Bruten. Not getting specific with their parts, mainly on purpose. Watch the film and find out! Muwah-ha-ha-ha-ha!! (this is supposed to be a diabolical laugh).
So, in total, “Dagr”, for all its intentions to be a comedic foray in the found footage arena ends up being a solidly presented and engaging, initially slow-burn adventure to relish for exactly what it is–uncomplicated, conventional, archetypical indie horror that’s a worthy enough 77-minute view. Is it “Paranormal Activity” or “Blair Witch” in intensity and scares? No. Is it the more seriously dramatic, supernaturally-infused effort like this film’s dynamic filmmaking duo’s previous (and EXCELLENT) project “The Isle“? No. Was this film MEANT to be any of these? No. While this critic may have missed out on the intended humor here (and I really did WANT a laugh) I wholly believe this still represents the beauty of indie film’s ability to elicit differing perceptions, interpretations, and opinions. Period.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
