Historical Newspapers of South Carolina

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'The Blair Witch Project' just plain scary I'k ★ ★ it ★ ★ ★ _ lights, ! Camera, : Reaction 1i i'i Out of four stars ★★★★ The Blair Witch Project Average rating: ★★★ Directors: Daniel Myrick and Eduardo Sanchez Starring: Heather Donahue, Michael Williams and Joshua T .ponard anyone can know. By Kevin Langston Gamecock Critic ★★★★ “The Blair Witch Project” is the scariest movie I have ever seen. I might as well get that out of the way before I get too caught up in why it is the scariest movie I have ever seen. This low-budget thriller has cap tured the attention of an entire nation. Here in Columbia, I doubt there was a showing this weekend that was not sold out, and rightfully so. The directors of this movie did a sensational job of creating a buzz throughout America’s pop culture. People still don’t know whether this movie is real or fake. I am not going to burst anyone’s bubble. I’ll let them decide for themselves. After all, that is part of this film’s appeal. This film follows three students on their journey into the woods of Maryland in search of the Blair Witch, a local folklore phantom. We experience the journey through their eyes and ears, as they are operating cameras and microphones in this doc umentary-style film. Needless to say, the students get lost in the woods. As they search for a way out, desperately clinging to their sanity, they encounter the true mys tery of the Blair Witch legend. The students never see the witch, nor does the viewer. She presents herself in the form of strange noises in the night and various objects placed in the path of these frightened students. Or does she? That is what I dig about this flick. You never see what the witch looks like. It is left up to the imagination. Can you freak yourself out? The students sure can. When you are watching them, you believe their emotions. You believe their fear, their frustration, their terror. You watch as they slowly deteriorate into humans getting by on basic instincts. You are scared for them because you know that when nightfall returns, they r have to deal with the unknown once again. And you don’t want that. By Kenley Young Gamecock Critic ★★★ 1/2 Most low-budget horror films are nothing more than misguided come dies, more closely resembling campy episodes of “Lost in Space” than any thing else. They’re as easy to watch as an autopsy and about as apt to strike fear into your heart as Richard Simmons. (Well, I guess he can be pretty scary.) The sad fact is, these days, even rehashed, well-financed horror flicks like “The Haunting” and “Deep Blue Sea” are more ridiculous than threatening, more laughable than chilling. But there’s nothing funny about “The Blair Witch Project,” despite the fact that it’s one of the most under funded movies in the history of its genre. Set in the thick woods of Burkittsville, Md., the movie follows film students Heather Donahue, Michael Williams and Joshua Leonard as they try to compile a doc umentary investigating a legendary witch who has been immortalized in local lore. The audience sees what the actors see, as Josh films, Michael runs sound and Heather directs — or so the film’s real directors, Daniel Myrick and Eduardo Sanchez, would have us believe. The result is, quite simply, some of the most original and disturbing footage to ever grace the silver screen. The three actors, wickedly adept at improvisation, make up most of the script as they go along, and, most of the time, they’re as gen uinely terror-stricken as the audience is. The actors underwent sleep and food deprivation for the project, and when they yell at one another, it’s for real. They’re really angry, and they’re scared witless. “The Blair Witch Project” isn’t unimpeachable. In fact, at times, it’s downright unrealistic. I don’t care how much of a comfort or “filtered reality” a video camera might pro vide; who the hell would even bother carrying the damn thing around under those kinds of circumstances, at the very witching hour of night, when people are fighting for their sanity and for their lives? And, as sharp and gritty as it is, even “Blair Witch” succumbs to much of the same hokey drivel that in some way distinguishes every horror movie ever made. Much of the “witching” that goes on in the movie looks exact ly like what it is — the real “Blah Witch” directors running around in the woods, playing fifth-grade pranks on their actors. But that’s nitpicking. What makes this movie so special is its sin cerity, innovation and heart. “The Blair Witch Project” sets a precedent, and it’s the most authentic horror movie ever made. Go see it. Now. By Tate Austin Gamecock Critic ★★ “The Blair Witch Project” left me with a few questions, like, “Why this movie?” There are dozens of films with this kind of budget and realism made every year. Granted, they aren’t horror flicks, usually, but it seems to me that the genre of the film really isn’t the issue; the cinematography is. There are plenty of independent films out there that are just as realis tic, so why does this one get a big release? My taste doesn’t determine everybody’s, but I wasn’t the least bit terrified by the movie; it was too much like a campfire story. The char acters are believable, and I enjoyed it iut/3 ui i uiiiimg, an earning, atinvo aixu rocks aren’t going to scare me. By Brad Walters Gamecock Critic ★★★ 1/2 “The Blair Witch Project” is able to do in one and one-half hours what movies twice its length with 10 times the hype couldn’t do this summer: leave you with a feeling you’ll never forget. In the movie, three filmmakers (played by Michael Williams, Heather Donahue and Joshua Leonard) roam the forest as they film a documentary about the locally famous Blair Witch. The filmmakers are never found, but their footage is discovered and released. The story is fictitious, even though the movie does a very good job of making you believe it’s all true. Daniel Myrick and Eduardo Sanchez, the minds behind the movie, realize that what scares peo ple the most isn’t the ski mask of Jason or the claw of Freddy. This movie exploits the stuff we’re fright ened of as we’re growing up - getting lost in the woods or being alone in the dark. As the story progresses, the suspension builds more and more until it explodes in one terrifying scene at the movie’s end. What makes this movie most thrilling is that it seems so real. All of the movie’s footage is shot by two camcorders, giving it an uncanny authen ticity. As the film’s three main characters become hungry and lost in the middle of a forest that’s supposedly haunted, it’s almost as if we’re looking through the lens and see ing what they’re seeing. The simplici ty ot tne story is wnat maxes tne movie. Just enough details are left out of the film to leave you guessing as to how exactly the characters met their demise. The film serves almost as an antithesis to “Star Wars Episode One”; it didn’t cost nearly as much to make, but it does so much more. I’ve seen the movie three times, and I’ve been more scared every time. It’s the movie of the summer and one of the top three of the year. "" ........ - “The Blair Witch Project” is a docu mentary-style horror film detailing the mysterious disap pearance of three film students work ing on a project about a local legend, the Blair Witch. Their footage, the premise goes, was found a year after their disappearance, and tells the story — or as much of it as for the realism of the cam- Courtes>,: http://www.bhinviich.com era work and dialogue, but i i r • • .. 1 i i _ r ii. _ . i __ •_ r ive great indie albums ot summer BEST CPS continued from page 7B they’re good at it. If you listen to “The Three EPs,” you see an evolving pat tern that takes them further from folk to hi-fi pop. While they carry on the folk flavor, they begin bringing in more toys to complement the acoustic guitars. “The Beta Band” picks up where “The Three EPs” left off. It is bizarre. From the downright silly antics of “The Beta Band Rap,” to the folk pop-driven “Round the Bend,” this album guarantees not to disap Matador Records, bought the rights to this wonderful accomplishment. If this album had received a big push in 1996, Belle and Sebastian would be one of pop’s most popular bands. This stuff is way ahead of its time, and it will probably remain that way. Belle and Sebastian call on the influences of The Velvet Underground with their genuine gui tar chords and their sad lyrics. This album is much more guitar-heavy than their other albums (“If You’re Feeling Sinister” and “The Boy with the Arab Strap”), but it is still a lot less guitar than most indie bands. Belle and Sebastian do not use the guitar as a main attraction. Rather, they use it to complement the rest of the music and lyrics, which are some of the most beautiful produced in many years. Belle and Sebastian is a refresh ing band with a refreshing sound. Though many of the songs are depressing in content, the music seems to soften the blow. You can cope with the melancholy tone, as long as the music doesn’t go away. With acts like Kid Rock, Insane Clown Posse and Limp Bizkit selling thousands of records, you wonder how such a soft toned band as Belle and Sebastian can make it in today’s music industry. Nevertheless, fans of mature music can easily look past the trite lyrics of the aforementioned acts and find refuge and salvation in Belle and Sebastian. Long-time fans claim this album to be the group’s best. They say it is a brilliant illustration of the band’s roots, which have firmly planted themselves into the soil of indie music. Album highlights are “The State I Am In,” “Expectations,” “Electronic Renaissance” and “I Don’t Love Anymore.” I implore you to add this to your collection. point. While I do send a word of cau tion that this album takes a few lis tens before you begin to enjoy it, I will say you will thank yourself later for your persistence. Belle and Sebastian Out of four stars ★★★1/2 “Tigermilk” This is the latest release from this melancholy Scot-pop band, but it’s their first album. Confused? Belle and Sebastian was started as a busi ness project for a class one of the band members was taking. His assignment: to start a business. His project: one of the most welcomed and popular bands in Scotland today. “Tigermilk’’ was the end result of that project, and while it was initially released in 1996, Belle and Sebastian’s present record label, Five Best Albums of Summer: The Flaming Lips: “The Soft Bulletin” Pavement: “Terror Twilight” Tom Waits: “Mule Variations” Belle and Sebastian: “Tigermilk” The Beta Band: “The Beta Band" Ashton June Photo Editor Returning students will notice - and new ones can’t miss - the Gamecock painted on Greene Street in front of the Russell House. The huge rendition appeared in May. Pick up the phone, not the tab. Stay connected with friends and family Free incoming calls through June 2000 with an 11-month service commitment * Or ask about our affordable Prepaid packages, where there is no credit check, no contract and no monthly bill. ® BELLSOUTH Mobility BELLSOUTH MOBILITY DCS STORES NE COLUMBIA 7368 Two Notch Road Tillman’s Plaza (Across from Shoney’s) 419-8899 COLUMBIA 275 Harbison Boulevard Harbison Center (Behind Rush’s) 407-0695 Call your USC representative at 414-2080. CALL 1-888-327-2001 www.bellsouthdcs.com •free incoming minutes valid through 11:59 p.m. on June 30, 2000; thereafter all inbound minutes will be charged. Does not apply to calls received when outside the BellSouth Mobility DCS service area. Not available on all rate plans. Toll charges, if any, and airtime charges will apply to calls forwarded from the DCS phone number. Voice mail not included with all rate plans. 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