The Upper Footage (UPPER)

While the Found Footage Horror sub-genre has had its bouts with both failure and outright amazing hits and select cult followings, nothing quite like 'Upper' has been done before. Sure we have had Horror films deal with snuff and the hardcore limits that surround it (such as in 'A Serbian Film' or 'the Poughkeepsie (sp?) Tapes', but not like 'Upper'. The realism behind the camera is almost *too* real, and while we don't get much in the form of character movement or insanely huge plot twists we do get ferocious paranoia and an insane lack for personal disregard.

The film starts off with a couple sentences surrounding the background of the case and how this all supposedly got started (I say supposedly because as of this time it has not been confirmed whether or not this is in fact a real death or a well-played Blair Witch Project hype-up). From there it goes into a quick montage of images and voice overs until we get to the footage itself. Slowly but surely things get started as two of the main characters go in search of drugs. From there it all goes downhill as the partying turns from a fun relaxing night into a careening downfall of regret, fear, and paranoia.

Even the closest of friends and the tightest of circles can be broken down sometimes, and all it can take is one brief misunderstood moment in time to set things in motion. 'the Upper Footage' is definitely THE movie to see for those enthralled with the Found-Footage sub-genre, however if you don't like constant shouting and shaky cam then sit this one out because no one wants to hear you bitch in a review about how you couldn't stand it. You should know that by now, figure out what you like! :)

The best thing you can say about this film is that, like the Blair Witch and Paranormal Activity, the creators managed to create a very real sense of 'this is real; this all actually happened' around it and those comparisons seem to have been made across many reviews I've read.

However, that is where any similarities end.

I've read time and again that the 'found footage' genre is stuck in a rut and that it's all been done to death and should be laid to rest for our own good. On the contrary, I'm one of those heathens that actually thinks that, when done well, it still has bags to offer and can be very effective and often terrifying.

The Blair Witch and Paranormal Activity were nothing new - they just perfected the use of the 'shaky cam' and discovered footage techniques to create very subtle scares and truly play on the 'what you can't see is always scarier than what you can' and Paranormal Activity was so effective at this that it actually had my then girlfriend - now wife - in tears on the couch watching this.

Watching 'The Upper Footage' could well also have you in tears but not for the right reasons, as it's an incredibly slow, boring movie. Classed as a 'horror' (depending where you look), the only thing horrible about the movie is how the main characters treat other human beings.

I found this aspect very realistic, having spent time at university with a number of 'privileged' individuals who didn't care in the slightest about how their actions affected other people.

This appears to be the driving point of the whole movie - how young, rich socialites will - and can - get away with murder, literally, as a direct result of their actions and how they will go to real lengths to cover this up. All in all, this could've made for a real interesting movie but little happens for the first 65-70 minutes. Even when we reach the point where the movie should pick up, it still feels very underwhelming.

Not even the girl that gets picked up near the beginning gets any sympathy from me, as she allows herself to be the entertainment for the rich kids, and as her face is pixelated the entire time she's on camera, it's even more difficult to relate to her in any way.

All-in-all, a pretty poor attempt at a different sort of 'found footage' movie, with little to recommend it.

These days anyone with an iPhone and a laptop can make a movie, but how many filmmakers can claim to have created a phenomenon? It's happened twice in the found footage subgenre; firstly in 1999, with Daniel Myrick and Eduardo Sánchez's peerless no-budget chiller THE BLAIR WITCH PROJECT, and eight years later with Oren Peli's spiritual follow-up, PARANORMAL ACTIVITY. These are films that have had a profound impact not only on horror cinema, but on cinema itself, and their fingerprints can be found all over director Justin Cole's scary found footage exposé THE UPPER FOOTAGE. While the extent of the influence Cole's film will ultimately wield remains to be seen, there's no denying that it already represents a genuine postmodern pop culture phenomenon. A full account of the film's turbulent history, written by Cole, is available online (seek it out, it's fascinating), but it boils down to a desire by the filmmaker to perpetrate a convincing and self-perpetuating media hoax capable of transforming a found footage thriller into a real-life snuff movie sensation involving Hollywood celebrities. It's a fascinating conceit, and speaks to not only our fame-obsessed culture, but to the role both social and 'legitimate' media play in constructing our everyday reality. Cole's venture was a rousing success, and what started as an unsubstantiated rumour soon became urban legend, then established 'fact,' reported on by the likes of Entertainment Tonight. Cole was so successful, in fact, that he found himself the target of campaigners outraged (not unreasonably) at the notion of a young woman's death being exploited for commercial and artistic purposes, and a long and clandestine struggle against the powerful parents of one of the actresses in the film, who took umbrage at the content. The fact and fiction surrounding THE UPPER FOOTAGE have become so blurred that it's difficult to know what to take at face value, but it certainly appears that some kind of conspiracy is dedicated to hampering the film's prospects. So there you have it – a textbook example of how to make a movie that stands out from the crowd, one that so thoroughly transcends its own limited trappings that the actual film is almost irrelevant, it's the media ripples that count. But when you strip away the hype and subterfuge, the conspiracy theories and Chinese whispers, what's THE UPPER FOOTAGE actually like? Just as Cole has found himself a victim of his project's runaway success, so does his film. While most genre offerings are at least moderately predictable, dealing in familiar tropes and well-worn clichés, they also pride themselves on their twists and turns, the story elements we didn't see coming. THE UPPER FOOTAGE isn't like most films. There's barely a story to speak of, and, given the extensive media coverage it's received, you probably already know exactly what's going to happen. As such, it's hard to recommend THE UPPER FOOTAGE to anyone whose priority is an action-packed roller-coaster ride, or who's looking for a casual afternoon's viewing. But for anyone who takes their cinema seriously, or has an interest in either the film's history or the wider relationship between the media and 'real life,' it's a different story.

I've long lamented the preponderance of unlikeable cretins in horror films (for convenience of categorisation I'm calling THE UPPER FOOTAGE horror, although convincing claims could be made for a variety of genres). I don't think I've ever watched a movie populated by such irredeemable monsters as those in THE UPPER FOOTAGE. Again, however, the film is an exception; the fact that its characters are soulless, amoral abominations is very much the point. It's as damning an indictment of directionless, hedonistic, moneyed youth as you could possibly hope to see, a drug-fuelled collision of the best of Bret Easton Ellis with the worst of MY SUPER SWEET 16. Cruel, sneering and without a single saving grace, these are horror movie villains of the scariest kind – those that actually exist. Cole holds up a mirror to Hollywood society, and what it reflects is sickening.

As a rule, found footage fails to convince. Cole is as meticulous about his filmmaking as he is about creating a believable backstory, resulting in a finished product that's entirely persuasive. He avoids all the usual pitfalls – a reliance on rigid scripting, use of incidental music, too-good-to-be-true framing, multiple cameras, ostentatious editing – and even manages to circumvent the thorny question of why they continue to shoot after tragedy strikes. The dialogue is largely, maybe entirely, improvised, and the long takes and awkward angles cement the sense of verisimilitude. It's easy to see why so many industry professionals were fooled – THE UPPER FOOTAGE really does look like the real deal.

In the end, of course, it's impossible to strip away the hype and subterfuge, the conspiracy theories and Chinese whispers. Gone are the days when movies were just movies – now they're multimedia franchises, websites, twitter accounts, t-shirts and actions figures, fan fiction. No-budget horror films from unknown directors can't lay claim to such grandiose marketing strategies, but, as Cole has proved, with a bloody good idea, an insider's understanding of entertainment media, and balls the size of Godzilla's, even the most modest of found footage productions can be elevated to near-mythical status. It's impossible to divorce THE UPPER FOOTAGE from the furore surrounding it, nor should we try. It adds an extra dimension to the experience, a spice you just don't get from watching a common-or-garden horror movie. Slow, meticulous and grotesquely authentic, THE UPPER FOOTAGE is a glimpse into a morally vacuous world of excess and casual barbarism, a world where no one thinks of anyone but themselves, and celebrity is a licence to get away with murder. It's not an easy film to watch, and it was even harder for Cole to make, but nothing worthwhile is ever simple. Cole claims to have already planted the seeds of his next project, one he describes as 'a bit riskier.' The mind boggles...

Summary: The Upper Footage is extremely boring at times, but its impressive final act compensates for it flaws. 60/100 (C+)

If you are not a fan of the found-footage sub-genre, you will be disappointed with this flick. The Upper Footage is strictly for hardcore found-footage movie fans. It was quite boring and requires lots of patience. It relies on realism and it did a good job because everything looked very real, even though it was obviously fake. The dialog was repetitive at times, also the profanity was constant and annoying at a certain point. But the film boasts enough intense moments and drama to mildly succeed, most of it was in its third act. I watched the first half of the movie with my sister, she was bored, extremely bored. I was a bit disappointed with the first half of the film because nothing happens. However, the second half is impressive and the tension begins, although it is still somewhat slow.

The first half was a total bore, the second half was a little bit more entertaining but quite slow too. Another problem is that the characters were not interesting enough to keep us entertained. There was not enough entertainment here, 60% of the film is people saying the F word like a thousand times... literally. I was like "meh" during the first 40 minutes, and some other parts in the second half. The entire movie was filled with people arguing about things that I did not care. It was just dull, but then I was shocked. The last 20-30 minutes were very impressive, the final act was very similar to The Blair Witch Project. It was shocking to me because I am a huge fan of that movie and this film was very close to it, in terms of realism.

Surprisingly, most of the characters in the final act became kind of likable, especially that blonde girl and the dude that was recording, they were quite smart and believable, the other guys were good too. I also loved a line near the end of the movie from the blonde girl: "I can smell her". If you have seen the movie you know what I mean. The payoff was good enough to me. There was a scene involving a chilling scream near the very end, it was pretty neat, well-done and brilliantly directed. In conclusion, the last act was a decent payoff. While most of the film is a total bore, the final act was impressive, refreshing and looked very realistic. Director Justin Cole has a new fan, I am looking forward to his new projects. (C+)

First off let me say I'm a fan of the found horror footage genre. Having watched not only the popular ones such as Blair Witch, Grave Encounters, REC, etc. I also really enjoyed watching the less well known Haunted Poland, Severed Footage, Exhibit A, etc.

Often I find the ratings of found footage films rather low as they are not to everyone's taste. However, with UPPER I couldn't understand what all the hype is about. At best I give it a 4/10 as I am a fan of the genre.

This film distinguishes itself from other such movies by its astoundingly shaky and out of focus camera. For instance, in the last third of the film, when they are driving towards Greenwitch, there are about 5 min of unfocused black screen with only shouting in the background. I was about to brush this off as an irritating feature due to the lack of night vision of the camera - when suddenly it is revealed that the camera does have proper night vision.

As for the plot, there isn't much. Basically it's obvious that something will go wrong. There was quite some tension among the "friends" to begin with that I was't surprised (contrary to some) that there would be a whole lot of arguing when something does hit the fan.

To be fair found footage films aren't famous for their plots, however the tension in them towards the end is always palpable. UPPER on the other hand left me rather board all the way through. I honestly can't find any comparison with for instance the Blair Witch Project, which towards the end got me very freaked out. UPPER is in the drama genre and weak at best.

My advice, watch this if you are a fan of found footage films, otherwise skip. Definitely not worth a second look.