Stalking

The found footage horror genre is one with huge variations in terms of quality. After reaching international recognition in 1999 with the legendary ‘The Blair Witch Project’, a film of dubious quality itself, it has spawned numerous, lesser films such as ‘Paranormal Activity’ and ‘V/H/S’, films high on stupidity and low on acting and logical writing. Therefore, ‘Stalking’ comes as a pleasantly refreshing surprise, invigorating a stale and uninspired genre with fresh chills and suspense. Whilst this is not through reinvention, it instead plays with previously established tropes to maximum effect, creating a nonstop thrill ride that utilises all the advantages that found footage brings.

As was the case with last years ‘Prowling’ - also directed by H. Owen Richardson - this film follows the misadventures of a group of young men in the middle of the words. Naturally, suspense is built through the authenticity of the footage and the knowledge that there is something else out there. ‘Stalking’ is perhaps even more suspenseful than Richardson’s previous films, and smarter too in how it plays on our innate human fears.

It’s the same basic premise as any other found footage horror film, though the introduction to the characters is perhaps one of the smoothest of all those in the genre, with the trio of young men finding an old camcorder in the wilderness and messing around with it, struggling to get to grips with it, before documenting the nightmarish turn of events that their camping trip takes. Over the course of a fairly long introduction we come to know and like the group, all of whom endear to us with their bubbly personalities, witty comments, and the fact that they are easy to relate to. Richard is played by H. Owen Richardson, whilst Craig Wakefield plays Doug and Kai Hall plays Blake.

There’s an authenticity in the way in which they interact that is not always present in the found footage genre. They come across as genuine friends and that is partially why the film is so chilling, because we can transfer our own friends, our own relationships into these characters and so simply imagine that we are camping in the forest and coming across a strange book with strange drawings of a figure named Rake with long, spindly fingers.

Richardson is an immensely talented director in this sphere of filmmaking, and whilst ‘Stalking’ perhaps loses some of its edge in the latter stages once the threat is realised - it is nonetheless a strong display of his skills. There’s an energy and an intensity to the way in which he directs that helps keep the story moving and engaging throughout. Though it treads the same ground repeatedly, it is never dull, and that is a credit to the way in which he directs the film.

‘Stalking’ is a strong entry in the found footage genre, that, whilst it may not reinvent the wheel, nonetheless feels fresh and enjoyable in the horror that it creates out of well trodden tropes.