Dear sir:
You have put out in the unwelcoming harshness of commercialization a movie that combines psychosocial realism with fantasy. Your main support has been a lore of werewolf movies that goes back to Henry Hull in London and the by now easily recognizable frame of Sundance independence from Hollywood. The outcome? A stark drama about a young fellow who reassesses his life as a misfit. Here and there, werewolf attacks. A sort of chocolate chip cookie, BLACKOUT with the wandering structures of so many pictures in the same genre creates a drama with horrific elements that could have been a good horror movie; e.g. The wolfman causes a massacre . Next scene: a lengthy talk between his love interest and her boyfriend in her kitchen. Tension and suspense mysteriously vanished.
On the plus side: technically speaking, Fessenden directs better than in his previous works.
Cast: The absolute protagonist of BLACKOUT is Alex Hurt, son of the great William Hurt and his spitting image. The role is demanding and he lives up to it. The supporting team includes veterans like Barbara Crampton, Marshall Bell and James LeGros, whom fans of the eighities' fantasy/horror will enjoy spotting and naming.
Not a greatly original addition to the lycanthropic subgenre ("The Cursed" for one is better) but a pretty watchable movie.
On the plus side: technically speaking, Fessenden directs better than in his previous works.
Cast: The absolute protagonist of BLACKOUT is Alex Hurt, son of the great William Hurt and his spitting image. The role is demanding and he lives up to it. The supporting team includes veterans like Barbara Crampton, Marshall Bell and James LeGros, whom fans of the eighities' fantasy/horror will enjoy spotting and naming.
Not a greatly original addition to the lycanthropic subgenre ("The Cursed" for one is better) but a pretty watchable movie.