Wendigo

Kim (Patricia Clarkson), George (Jake Weber) and son Miles (Erik Per Sullivan) are headed to the country for winter weekend relief from Manhattan's bustling metropolis. On the way, they hit a buck and end up stuck in the snow. A group of hunters who were tracking the buck come along. Rather than helping, at least one of the hunters, Otis (John Speredakos), is mad because the accident cracked the buck's antlers. George, Kim and Miles are disturbed by Otis, and even worse, we quickly learn that Otis has learned where they're staying. Meanwhile, Miles is given a wendigo (a kind of Indian shape-shifting spirit/monster) token by an Indian whom only he has seen. Is Otis a psycho out to get our heroes? Are there wendigos in the woods?

I can see where Wendigo would have a number of problems appealing to viewers. It is a fairly low budget film, with technical limitations frequently showing through. Much of the film, and maybe all of it, is not really about the titular creature. And perhaps the fatal blow for many people, it has a very ambiguous ending, with a number of questions left unanswered. If you are discouraged by such endings, and you do not like films that have an aim of making you think about and discuss what everything meant, do yourself a favor and avoid Wendigo.

Personally, I like films like that. I usually prefer some ambiguity. The marketing of Wendigo is geared towards those who want a quick, scary creature flick, where they'd expect a grand battle with some supernatural monster who is defeated in the end, and everything is tied up neatly except for an opening for Wendigo 2: The Monster Returns, but that's not what this film is. Wendigo is much more thoughtful and poetic than the surface of such a creature flick would suggest to most people. Heck, writer/director Larry Fessenden even has a character, George, reciting Robert Frost. The Frost poem, and George's comment that Frost can evoke complex imagery and atmosphere out of seemingly simple things, is the key to the film.

One of the best things about the film is its complexity. In a way, there are four different films occurring at the same time, a thread from each character. In George's thread, he isn't exactly the happiest or most pleasant guy in the world, and he has some parenting problems. For him, the film is a realistic, horrific descent of his life going from bad to worse. In Patricia's thread, she's looking for rejuvenation of her life and family. She's a psychologist mostly denying the problems around her, hoping that they'll go away and get better. In Otis' thread, he's even more down on his luck than George, and George's arrival into his life symbolizes the final "crack" in his psychological armor. And in Miles' thread, which is probably the most important of the film, life is like a grand poem due to his youthful innocence and interpretation of the world. But this is a horror story, after all, albeit one with a glimmer of hope, and the events in the film give Miles' poetic interpretations a dark turn. Still, when everything is said and done, he seems to be the only one retaining his composure, due to the poetic outlook.

Even though the film is low budget, there are a lot of well-executed higher budget ambitions. Fessenden and director of photography Terry Stacey find some great shots in beautiful locations, and created some interesting slide show like montages (such as the cards, or the Indian wendigo images from the book). There are also interesting more traditional montages, such as Miles' nightmare. Wendigo is better shot and edited than many big budget films.

Other technical aspects are good for the budget. The "Wendigo" appearance at the end worked for me and was appropriately ambiguous. The lighting was usually good--there were a few times that dark scenes weren't as clear as they could have been, but it seemed to be more of a problem with the film stock (it could have been digital instead) or transfer. I thought the performances were good and far more realistic (if you value that) than the majority of films. Although I didn't really notice the score, it must have been okay, or I would have noticed it with a negative judgment.

Overall, Wendigo is a very good film that deserves to be watched without preconceptions, as long as you don't mind having to think about the movies you watch.

I like horror movies a lot and have seen a great many of them. I rented this movie with misgivings which were, alas, justified. For approximately the first hour, very little happened. A couple & small child driving along the woods hit a deer then encounter some hunters, one of whom has a screw loose. Words are exchanged and the family eventually gets unstuck from the ditch they ran into after hitting the deer. After that, for about an hour, not much happens.

A horror movie, above all, should not be boring, and this one is. All that happens occurs in the last 1/2 hour.

As a character-driven chiller, Wendigo is a thoroughly satisfying film, though not one that successfully plays out its early promise. From the establishing shot of a young family driving a winding road into the darkened wilderness I was immediately reminded of The Shining. And if Wendigo doesn't quite display that films polished visuals, it certainly borrows the themes of isolation and familial tension, especially patriarchal, that Kubrick examined so well. Cult director Larry Fessenden has gone back to horror movie basics to achieve a palpable tension in his film: black shadows in every corner of a very-underlit rural house, creaky floorboards, shrieking nighttime winds. His film starts to unravel when he pushes to far - the appearance of the Wendigo, an Indian spirit that travels on the wind, is at first frightening but ultimately overplayed; Fessenden feels compelled to reveal the monster in an extended attack sequence on the films hillbilly badguy, and in doing so belies the slyness with which we had so successfully frightened us up to that point. The ending is particularly murky, both visually and narratively, feeling rushed and a little self-consciously obscure. The cast is uniformly solid: Jake Weber and Patricia Clarkson as the yuppies-in-peril are very real, and 'Malcolm In The Middle' youngster Erik Per Sullivan provides the perfect conduit for audience fear and apprehension. The print I viewed at the recent AFM conference was particularly grainy and I am unsure as to whether this was due to the transfer from HDV-to-film or whether Fessenden shot it like that. Regardless, it proved very effective in creating a sense of dread and foreboding, especially in the early twilight scenes. Also nice to see a film that revels in its ability to scare, not always winking at the audience in a self-mocking "Scream" sort-of way. More often than not lately irony and revisionism have gotten in the way of a good fright, which Wendigo certainly provides.

Larry Fessenden's Wendigo is a film that has stuck with me since I saw it years ago, a glowing textbook example on how to create chilly, effective and engrossing horror on a minimal budget, to maximum creepy effect. Set in the snowy drifts of Upstate New York in the dead of winter, a stressed out family heads up to a remote cottage for a rest. Following an accident, a dead deer and the subsequent altercations with angry locals, things take a turn for the supernatural as some dark force takes up residence on the cottage grounds, shaking the family to their collective core. There's an old legend out there about a spirit called Wendigo, a vengeful ghost that latches onto traumatic events, haunting those involved often right to their graves. These poor people awakened it, and it won't go away. Jake Weber, Patricia Clarkson and Dewey from Malcolm In The Middle are great as these folks, compelling in their sense of confusion and dread. The creature is rarely seen, save for a single stark image that I haven't forgotten since: after the car accident, the child looks a ways up the road and sees it standing there, a freaky spectre, all shadows, antlers and such. Spooky stuff.

Larry Fessenden is an independent director who has focused his career in making horror movies with philosophical and existential subtexts. Despite his sparse production (four movies in 16 years), his original approach to the genre and the quality of his work has given him recognition and praise in festivals and in the independent scene. "Wendigo", the third of his horror-themed films is probably the weakest of them, but it has many of the unique characteristics of Fessenden's film-making that make it stand out among the genre.

A young family of three heads to upstate New York hoping to spend a time relaxing hoping to relieve from the stress from the city. However, they find problems as they find an angry local named Otis (John Speredakos) who is not very happy with having them as neighbors. His strong and intimidating presence serves as catalyst for the family's inner conflicts and fears, specially those of little Miles (Erik Per Sullivan), whose feelings of loneliness are increased due to the fear Otis creates in him. As he learns about the legend of the Wendigo, Miles will learn to face the harsh world that is out there.

Very loosely based on the Anishinaabe legend of the Wendigo, the movie is a haunting drama mixed with horror that perfectly combines a lucid visual style with a clever storyline. Told from Miles' point of view, the film is genuinely creepy and the snowy landscapes together with the feeling of isolation Miles feels increase the haunting atmosphere of the film. Basing its scares on mood and atmosphere makes the film a rare species among modern horror movies, and the excellent camera-work makes the film look a lot better than other low-budget independent films.

Fessenden visual approach may seem a bit "style over substance" at first, but he takes a good time in developing the characters and their relationships. In fact, the relationships between them are probably the most important thing in "Wendigo". From Miles' distant relationship with his parents George (Jake Webber) and Kim (Patricia Clarkson) to both parents' struggle to keep a balance between job and family's responsibilities. The impact Otis has in the family and the Wendigo's legend work perfectly as plot devices to make the film move.

The lead cast is superb, with Erik Per Sullivan being an excellent actor despite his young age. Jake Webber and Patricia Clarkson show their talent and the three of them have very good chemistry as a family. The rest of the cast is average, but their work is fine considering that the center of the film are our three main characters. The Wendigo spirit, an important part of the plot, is very well recreated and despite its cheap low-budget look, Fessenden camera-work make it work very good.

Sadly, the movie is not perfect and despite having a very strong start, the movie loses steam and by the end it falls short to the expectations built. Larry Fessenden offers a creative and actually haunting film that is severely hurt by the lack of a competent conclusion, a shame if one considers that the characters are very well developed and the plot has lots of potential. The fact that the use of atmosphere, visuals and audio is superb makes the weak ending the more disappointing. It feels as if Fessenden had not cared about how to finish the tale as the movie feels incomplete.

"Wendigo" has been hailed as both a masterpiece and as a failure. While the movie has enough good things to be called a great film, it's disappointing pay-off and lack of conclusion are a big stain. In this case the best thing to do is to watch and judge for yourself, just don't expect a typical horror film. 6/10