A Richard Mansfield Double Feature : “The Mothman Curse”

Posted: May 20, 2017 in movies
Tags: , , , , , , ,

The name Richard Mansfield is not, I would assume, one known to very many, but I’d been hearing a little bit here and there over the past few years about this UK-based “micro-budget” writer/director and his production outfit, Mansfield Dark Productions, from fellow aficionados of cash-strapped filmmaking,  so when I noticed that a number of his flicks were available for streaming on Amazon Prime, I thought I’d give at least one of ’em a go and see what the less-than-buzz was all about. As it turns out, I ended up watching two, but we’ll get to the other one in our next review. First up : 2014’s The Mothman Curse.

Looking every bit like the one-thousand-pound (reportedly) production it is, this “supernatural thriller” certainly bases its entire shtick on the tropes one is used to from the “found footage” sub-genre, but can’t be fairly said to fit into said “family” of films in and of itself — it just looks, feels, sounds, and essentially plays out like one.

Cue lots of hand-held “shaky cam,” wildly varying sound levels, grainy-ass “night vision,” and wooden, amateurish acting. And yet Mansfield, no doubt forced to go with a “low-fi” vibe by dint of sheer necessity, doesn’t for one minute sell this as being a “mockumentary” of any sort. The story of overnight museum workers Rachel (played by Rachel Dale) and Katy (brought to “life” by Katy Vans) even, and obviously, plays the old “give characters the same name as the actors portraying them” card, but at no point are we told that they went missing and these tapes are all that was found to provide clues as to their disappearance, etc. In fact, the plot is pretty straight-line-from-A-to-B stuff. Purportedly living in Point Pleasant, West Virginia, they’ve heard tell of the so-called “Mothman,” of course — as have we all by this point — but when they begin to notice a strange and enigmatic shape out of the corners of their eyes with greater and greater frequency, they decide to to do a good and proper “deep dive” of research into the phenomenon, which apparently raises their would-be antagonist’s hackles, because he starts to make his presence more directly felt (and eventually seen) by means of crawling quickly across the ground, knocking on doors and then promptly running away, all that good stuff. He’s onto them, goddamnit, but he’s going to take his time and drive them crazy with paranoia and fear before moving in for the kill, ‘cuz that’s what spooky creatures like him do.

Shot almost entirely in black and white (with a bit of green here and there to denote when the lights have gone out), Mansfield seems to want to convince you that he’s making some kind of “art-house” flick here rather than just a cheap one, but he doesn’t strike a very convincing stylistic pose as far as that goes — I don’t know if the DVD iteration of this film available from Wild Eye Releasing features a commentary track or not, but if it does, I’d be curious to see how far he goes toward explaining/justifying this aesthetic. To me, it just looks like what we’ve got here is a guy doing some on-the-job-training when it comes to  getting the hang of using decade-old technology — which doesn’t preclude him from accidentally nailing a handful of legitimately effective shots — but who knows? Maybe I’m not giving him enough credit for trying to be a stylish visionary with next to nothing at his disposal.

Or, hell, maybe I’m giving him too much by even entertaining the “hey, this is all one purpose” possibility. After all, Mansfield doesn’t seem all that concerned with eliciting decent performances from his two principal leads — or, for that matter, from his small handful of supporting players. The Mothman him/itself is considerably more effectively realized, and the fuzzy image quality helps to no end in that regard given that seeing him clearly would probably show he’s just some dude in a cheap costume, but seriously — nothing else on offer here in terms of production values/quality gives any sort of hint that our cost-conscious autuer has any ambition to punch above his low weight class. The film seems very much resigned to its fate rather than one that looks for creative ways to seem like more than it is.

Pacing is another big problem here — I’m all for a slow burn, absolutely, but is more like a glacial fizz-out. Tectonic plates move more quickly than The Mothman Curse, and deliver considerably more “bang” when they do, finally, shift after millennia. Shit, the actors even speak slowly much of the time, essentially padding out what by all rights should be about a sixty-minute short (-ish) film to a seemingly-interminable 80 minutes, which is barely above the minimum a production can clock in at and still call itself “feature-length” with a straight face.Sure, it seems a lot longer, but this flick wastes time and stretches shit out to a degree that would make even master hustlers like Nick Millard envious.

So, yeah, getting to the end of this one was a rough slog. Watching the flagpole rust is probably a more involving endeavor. But hey — what the hell do I know? Somebody, somewhere, must have liked this, because Mansfield is still at it, presumably — hell, hopefully — honing his craft as he goes along, building a mini-“empire” that, as we’ve already established, at least enough folks are paying attention to in order to keep it going as a viable concern. Our guy Richard may even be pursuing his movie-making career on something resembling a full-time basis by now, in which case more power to ‘im.

Still, from all evidence on offer in The Mothman Curse, I don’t think a sane individual would invest another hour-plus of their existence in another Mansfield production. But a “sane individual” is something no one’s ever accused me of being —

Comments
  1. Ryan C. (trashfilmguru) says:

    Reblogged this on Through the Shattered Lens.

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