When it comes to tackling the monstrous, indie horror staple Larry Fessenden certainly isn’t afraid to take aim at the big boys. In his 2019 film DEPRAVED, Fessenden reimagined Frankenstein and his monster as only he could. In 1997, he gave us vampires with HABIT. And in 2001, it was Native American mythology in WENDIGO. Now, Fessenden delivers a classic werewolf story in classic non-traditional Fessenden fashion with BLACKOUT.
Recently making its world premiere at the 2023 Fantasia International Film Festival, BLACKOUT follows struggling Talbot Falls artist Charley (Alex Hurt) as he navigates a myriad of complex issues. He recently lost his father, a respected community member. A semi-recent breakup with the local asshole Bigwig’s daughter (Addison Timlin) and his battle with alcohol further complicate things. Then, there’s that whole pesky werewolf transformation problem. As Charley struggles to remember, reconcile, and resolve the consequences of his lycanthropic actions, BLACKOUT presents a surprisingly moving portrait of small-town life and the tenacious ties they so often hold.
Intimately shot by cinematographer Collin Brazie, BLACKOUT presents Charley’s story with a lightly handheld, voyeuristic and meandering style. Desperate to escape the town’s grasp, Charley attempts to tie up loose ends before parting ways. Well-known within the community, Charley makes the rounds, begrudgingly indulging in conversations with old friends and acquaintances for as long as it takes him to get what he needs from them. Not only do these conversations reveal important backstory about Charley, but they also expose the tensions simmering beneath the town’s picturesque veneer. It also provides Fessenden a perfect opportunity to feature many of his frequent flyers, including Barbara Crampton, James Le Gros, Jeremy Holm, and more.
By framing Charley within his community, Fessenden’s werewolf story exudes an earnest verisimilitude. Whether at the hands of the stunning scenery, Charley’s outbursts of creativity, or the relaxed, natural dialogue, BLACKOUT feels… real. Further reinforced by Alex Hurt’s nuanced and dedicated performance, Charley’s story feels achingly believable despite the obvious implausibility of it all. And while one could read into the werewolf element as more of a metaphor for addiction (I mean, it is called BLACKOUT, after all) than a mere creature feature, the film assuages such assumptions through the more blatant horror aspects.
So rest easy, dear horror hounds. Fessenden’s understanding and passion for the genre still come through and are made abundantly clear. Kicking off with the delightfully visceral opening scene that pays tribute to horror films of yesteryear, BLACKOUT effortlessly blends introspective character study and raw werewolf shenanigans. While these moments of gloriously gory werewolf brutality wind up feeling more like a part of the story than the focal point, that’s not a bad thing.
Over the decades, the genre has been truly blessed with a bevy of fantastic werewolf tales, and Fessenden merely evolves the sub-genre by breaking ranks with the rest of the pack. Ultimately, the real power of BLACKOUT resides in Charley’s love/hate relationship with Talbot Falls, his clear addiction to alcohol, his conflicted concern over the troubling ripple he sees spreading through the town and the friends that never give up on him. Through Charley’s circuitous journey of self and hombre lobo discovery, BLACKOUT charms while illustrating the many circumstances that can tear a town (or man) apart.
Tags: Addison Timlin, Alex Hurt, Barbara Crampton, Collin Brazie, Fantasia, Fantasia Film Festival 2023, Horror, James Le Gros, Jeremy Holm, Kevin Corrigan, Larry Fessenden, Werewolves
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