Film review: 6-5=2
Film: 6-5=2
Cast: Darshan Apoorva, Krishna Prakash, Vijay Chendoor, Pallavi, Tanuja, Mruthyunjaya
Directed by: KS Ashoka
Certification-A
Rating: *½
For kicks, he plucks out a human skull from a tree and carries it around. He does not find his spontaneously combusting bag to be the least bit paranormal. He humours his chatty friends, contributing to 95 minutes (out of 107) of verbose buildup. He leaves his solar-powered camera at the choicest of angles by night. These static frames and moments of rare silence are designed for the money shot; unnatural movements, glowing eyes or shadows. Even a dog would do. But what do they choose? Whispers.
The second rule of found-footage films is that the footage must at least look like it isn’t treated. The third rule is that voices don’t need to be dubbed. However, the first minute of this remake (of the Kannada original) has an interviewer telling the sole survivor that their footage has been edited into a real film.
Does this give them a plausible reason to occasionally switch angles (single camera) during interactions, or dramatically reverberate every scream thereby defeating the purpose of this genre? No.
The first rule is that these films should be scary and the actors, naturalistic. Their deaths should invoke horror, not glee and relief that they’re finally being bumped off.
Instead, I recommend the movie that has spawned a hundred pretenders (including this one): The Blair Witch Project. Director Late Siddharth, you must watch this too.
Cast: Darshan Apoorva, Krishna Prakash, Vijay Chendoor, Pallavi, Tanuja, Mruthyunjaya
Directed by: KS Ashoka
Certification-A
Rating: *½
I’m yet to figure out whether the opening slate ‘Shot by Late Siddharth’ is a smart move. This indicates that either the filmmaker named Siddharth has passed away, or that his first name is Late. As it turns out, Siddharth is actually the character that shoots footage within this film—an aspiring cinematographer and one of six ill-fated young trekkers. He is the annoying guy a screenplay must have as an excuse for an omnipresent camera. Here, he gives the (real) filmmakers the license to use aesthetic filler shots of hills, waterfalls, sunrise and spiders. Like most potential victims, he is also inherently dimwitted.
For kicks, he plucks out a human skull from a tree and carries it around. He does not find his spontaneously combusting bag to be the least bit paranormal. He humours his chatty friends, contributing to 95 minutes (out of 107) of verbose buildup. He leaves his solar-powered camera at the choicest of angles by night. These static frames and moments of rare silence are designed for the money shot; unnatural movements, glowing eyes or shadows. Even a dog would do. But what do they choose? Whispers.
The second rule of found-footage films is that the footage must at least look like it isn’t treated. The third rule is that voices don’t need to be dubbed. However, the first minute of this remake (of the Kannada original) has an interviewer telling the sole survivor that their footage has been edited into a real film.
Does this give them a plausible reason to occasionally switch angles (single camera) during interactions, or dramatically reverberate every scream thereby defeating the purpose of this genre? No.
The first rule is that these films should be scary and the actors, naturalistic. Their deaths should invoke horror, not glee and relief that they’re finally being bumped off.
Instead, I recommend the movie that has spawned a hundred pretenders (including this one): The Blair Witch Project. Director Late Siddharth, you must watch this too.
