As strong a debut as such a young artist can hope for. Kane Parsons took his vision and a mythos that is bloated and has been taken in many different directions by fans and turned it into something digestible for anybody, while also being competently made, and quite fantastic in my opinion. 

100 minutes of pure found footage horror could probably be done well, but I admire the decision to integrate that type of horror organically into a narrative about…

The unique and stimulating style Riley debuted with and continues here is effective but gradually gets worse as the film continues. I find it preferable in its absurdity to something like EEAAO since its satirizing our reality and fleshes out our character’s lived experiences as well as the social commentary, but the socio-political messaging here goes from subtle to in your fucking face as a result. It feels like a liberal’s wet dream in how little it’s thought out because…

Potential, scale, and ambition, all reduced to ashes. What starts out as a promising tale of humanity in the face of a changing world challenges itself to a nosedive into mediocrity. Proudly proclaiming that it will stand eternally, deliberately citing politicism and subsequently destroying any good there may have been here.

Filled to the brim with dissolution, meandering toward its conclusion as if impatient with itself, only asserting and maintaining zionism because that’s the hill it wants to die on.…

The spaces we occupy can be as welcoming as they are alienating. I have lived in one home my entire life and at one point when my family considered moving it was genuinely one of the most terrifying concepts for me to even try to accept and in a lot of ways still is. I, of course, still know I will leave my childhood home at some point but that’s all with the assumption that it will still remain here…